Zart Extra Newsletters

Term 1 2004Registered by Australia Post Publication No. 327687/00003


Zart Extra Newsletters 2004

Term 1 Term 2 Term 3 Term 4

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2 Zart Extra_Term 1 2004

A man paints withhis brain and notwith his hands.MichelangeloZart Education Service

zart art in review: Welcome back! We haveanother great year planned ahead with newworkshops, exhibitions and articles.We would also like to wecome all new teachersof art. Our FREE product and ideas presentationswill be held this term throughout Victoriapresented by our sales consultants Rene andGeorgia. This is a fantastic opportunity to see,learn about and try new products. It is also afantastic opportunity to share ideas and discussprojects with other teachers in your area. Findout now if there is a presentation scheduled inyour area, all the information is in the Term 1workshop flyer or at:www.zartart.com.au/showtell.htm. However, if you require a workshop to meetspecific curriculum needs ZES offers clientrequested workshops for groups, whole schoolstaff and networks. Please phone ZES for moreinformation. An exciting addition to this term is workshopsat regional art galleries throughout Victoriafocusing on Australian artists. Please refer toyour term 1 workshop flyer or our website forup-to-date workshop details :www.zartart.com.au/Workshopsmain.htm

Profile:Art in a Country TownMyrtleford Primary Schoolpa

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Zart’s Student GalleryWhat’s on and featuringin our Gallery for Term 12004.pa

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Primary Article: Light &Reflection Exhibition.Carey Baptist Grammar,Donvalepa

ge 7 New products

Great new Zart Artproducts and ideas! pa

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Two different applicationsof Mosaics in a schoolenvironment.Surrey Hills Primary School &Camberwell Boy’s Grammar.pa

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Secondary ArticleVCE spotlightSt Catherines’s School,Toorakpa

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Zart Art School &Wholesale SupplierZart Art offers an extensiverange of resources, artmaterials, craft andtechnology supplies. Youwill find competitive pricesand efficient and quickservice.

5/41 Lexton RoadBox Hill North Vic 3129Ph: (03) 9890 1867Fax: (03) 9898 6527

[email protected]:Mon-Fri: 8.30am-5.00pm Sat: 8.30am-12.00 noon

Zart’s Student GalleryThe gallery features artworks made by students ofPrep to Year 12 from allaround Victoria. Schoolscan arrange for students tovisit the gallery, analysethe works of their

contemporaries and thenmake a relevant piece oftheir own art work in ourworkshops with an artconsultant. The gallery isalso open to the public forviewing during openinghours (please see Zarthours) free of charge.

For Term Gallery listingsrefer to our Zart Extra andour website.

Zart Education Service

Zart Education Serviceprovides hands onprofessional developmentworkshops for primary andsecondary teachers, as wellas LOTE teachers, Pre-schools, and librarians.Visual Arts workshops areregularly held at Zart and inmetropolitan and countrylocations and upon requestat your school, district or

KLA’s group.

Please refer to the ‘WorkshopInsert’, a supplement to everyZart Extra or refer to ourwebsite for dates and times.

Zartworks (Retail Shop)Zartworks have all your artand craft needs catering forboth beginner andprofessional artists. You canselect from a wide range ofvisual arts, craft and graphicsupplies. Browse at your

leisure or seek assistancefrom our experienced staff.

3/41 Lexton RoadBox Hill North Vic 3129Ph: (03) 9890 5110Fax: (03) 9898 6527Internet:[email protected]

email:[email protected]

Hours: Mon-Fri: 9.00am-5.00pm Sat: 9.00am-12.00 noon

ZART EXTRAA Visual Arts

publicationproduced each

term for Pre-school,Primary &Secondary

Teachers byZart Art and

ZartEducation

Service.

2004 important dates.international year of rice.

International year to commemorate the struggle againstslavery and its abolition.

chinese year of the monkey

events:games of the xxvviii olympiad athens greece: 13/08/2004 -29/08/2004

conferences:

aev conferences: saturday 29 - sunday 30 may 2004

2004 term one dates:

act: friday 30 january - thursday 8 Aprilnsw: tuesday 27th january - thursday 8 April (east)nsw: Tuesday 3rd february - thursday 8 April (west)tas: thursday 12 february - Friday 28 Maytas: easter break thursday 9 April - sunday 18th april sa: thursday 27 january - thursday 8 Aprilwa: monday 2 february - thursday 8 Aprilnt: tuesay 27 january - friday 2 Aprilqld: tuesday 27th january - thurday 8 April

public holidays term 1 2004:launceston cup (nth tas) - wednesday 25 feb labour day: - monday 1st march (wa)labour day: - monday 8th march (vic)eight hour day: - monday 8th march (tas)canberra day: - monday 15th march (act)good friday: - 9 aprileaster monday: - 12 aprilZART CLOSED - Tuesday 13th APRILanzac day: - 25/anzac holiday 26th april

(ex vic)

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Trilogy of Life

secondary article

Zart Extra_Term 1 2004 3

Ialways wanted to make art. I couldn’twait to go somewhere where I couldsplash paint around and try things

without being afraid of making mistakes.The freedom I wished for I found at StCatherine’s School although I didn’t reallyhave that freedom until I undertook theVCE. Instead of doing Units 1 and 2, Idecided to ‘fast track’ into Year 12 and thatwas one of the best decisions I have evermade. It gave me the focus and motivation Ineeded and encouraged me to push andextend myself. Working with older studentsalso made me approach my work in a veryserious way.

My Trilogy of Life, which I completedfor my VCE Art folio, comprised of threevery large paintings on MDF board. In a way,the works are self-explanatory and don’tneed to be talked about, although I willdiscuss the process. All you need to do is justlook at them to absorb and respond to theintensity of the reds, the contrasting bluesand purples and the highlights of creams andyellows. What should be of greater interest ishow the textured effects of cracked colourswere achieved. Sure, there is a commercialmedium that allows you to create the effectsof crackling, but not on this scale.

The Idea.

In first semester, I had worked on aseries of very large, dramatic black andwhite figure drawings and I desperately

needed a change. Jeff Makin’s colourfulinterpretations of the countryside aroundLake Eyre inspired me to explore the impactof dramatic hot reds contrasted with coolerblues. My teacher, Mr Darby, introduced usto the William Creek and Beyond Expeditionto Central Australia for our Art examination.Makin’s work, along with that of artists suchas John Olsen, Andrew Sibley, Tim Storrierand Hazel Dooney were awesome. What Iinitially considered an interesting backgroundfor my figure drawings became my majorinterest for my final works. The figuresreceded in importance and the colourfulbackgrounds became my focus.

The Method

On two of my figure drawings Iaccidentally discovered that when I paintedacrylic colours onto the paper, and thenapplied a coat of Glass Enamel over the topwhile the acrylic was still wet, the two liquidswould dry at different rates and the topsurface cracked quite dramatically. I lovedthis effect and decided to make this a majorexploration. I found that if I applied a thinlayer of Glass Enamel and blended it a little,the cracks would be fine and quite subtle. IfI applied a thicker layer of Glass Enamel, thecoloured surfaces would be larger and thecracks more obvious. Both effects wereinteresting and I wanted to take fulladvantage of each one. I learned a lot anddeveloped my skills and techniques

considerably as I worked. The various redsand creams were worked together using ablending technique and then I scratcheddetails into the surface using metal scribersand files.

While much of the reaction began tooccur as I worked, it wasn’t until I returnedto the room for my next class that the fulldramatic result was apparent. Although I hadan idea how it would turn out, there wasalways that amazing experience of discoveringthe full effects of the cracking and blendingonce the colours had dried. I always hurriedto see what I had created. It is important tounderstand that discovering something asamazing as this encourages you to spend alot more time than normal in the Art room.

The Materials.

I used Global acrylic paints, which comein easy-to-handle containers and a good rangeof colours. The Zart Glass Enamels are a kindof thick, strong, honey-like liquid that provideintense, glossy effects. They are often used bystudents to create transparent or semitransparent surfaces, which can provide someof the effects of stained glass windows. Theacrylic paint was applied using large bristlebrushes and a range of sponges on sticks.The Glass Enamel was wiped over this initialsurface using a hand held cleaning sponge aswell as the sponges on sticks.

I made a series of four small trials on

Year 1 1 s tudent- St Cather ine ’s School


secondary article cont

canvas boards using a range of reds andcreams. These were very effective and gaveme a guide from which to work when Istarted my larger final works.

The Artistic effects.

What is most noticeable when you firstlook at this series of works is their scale andsize. I wanted to create works that could notbe ignored. They were so big, I needed toplace them on top of the tables and kneel

and crawl all around them. My socks wouldbecome saturated with colour and I wouldget into trouble for walking it through thestudios! My teacher was very patient withme. The intense, emotional reds contrastedwith the deep cool blues and purples alsostand out clearly, as do the strong creamhighlights. It is interesting how powerfuland effective this colour scheme is. Duringthe VCE exhibition, people interpreted theseries of works in different ways. Some saw

them just as arrangements of colours,shapes and textures; some saw them ashaving hidden meanings and messages whileothers noticed the relationship to my earlierfigure drawings. Overall, people enjoyed theartworks and appreciated the visual effects Ihad created. I was ecstatic with theresponse.

Alex Anderson (Year 11)St Catherine’s School, Toorak.

primary article cont


profile

A highlight of the Visual Arts Program at MyrtlefordPrimary School is the annual visit of David and ShirleyWilliams. David is a renowned watercolour artist, Shirley hiswife, is a very capable manager and assistant. David andShirley spent a week instructing our pupils from Prep to 6 inthe gentle art of watercolour painting with lastyear’s focus topic ‘Year of the Fresh water’. Childrenwere timetabled for two one hour sessionsduring which class teachers attendedand were assisted by parents, whomount the completed works of artfor our exhibition.

Our students came toacknowledge the value of ourwater resources during the longhot summer. Myrtleford was oneof the North Eastern townssurrounded by fire with a delayedstart to the school year due to thedangers of fire and smoke exposure.

We had no excursion or related activities or experiencesleading up to our celebration, but being a country town in theAlpine Region our children live in an environment of rivers,bush, mountains and lakes where they can swim on asummer evening, go fishing, experience water and snowskiing and bushwalking.

We resourced books and charts from our school library,which David used as points of reference for the topic list he

prepared in advance.

David is a frequent visitor to the North East and realisesthe children bring their own knowledge and experiences totheir work.

We had rosellas in our school garden the morning theywere painted. David observed these on his way to our schoolblock and some beautiful paintings resulted.

He commenced each session withdemonstrations of basic rules to follow

concerning the use of watercolourbrushes and the skill of blendingwater with paint. A general questionand answer session about each topic

followed. David then led the childreninto each activity demonstrating line

perspective and colour use as he went.

Over 800 individual exhibits were mountedand hung in an exhibition presented to parents

and friends of our school community at the end of theweek. The children’s best efforts were framed using cardboardmounts and other works were combined in general displays.Parents attending the exhibition were delighted by the rangeof topics such as Bubble Ballet Caterpillars, Eels In Water, MrCelery and Mr Potato Head, Water Droplets with Rocks, Snowon Mt Buffalo, Autumn Leaves, Water Tanks and Wind Mills,Gumboots in Puddles, Water Lily in Ponds, Fabulous Fungi,Sunset on the Lake which expressed our appreciation of a veryprecious resource.

Philippa CartwrightArts Coordinator

Myrtleford Primary School

Art in a Country Town

term2004

Students studied and discussed the external andinternal makeup of fish. Fins, scales, size, textureand colours were all examined. The backbone wasthen examined, and the influence it has on theoverall shape of a fish.Using this as a basis, student drew an outline of afish in metallic oil pastels and then divided theshape into segments, using a strong line to act asa backbone. Each section had to be decoratedusing different shapes and colours, but one spacewas to be left empty.A food wash was then applied over the fish andwhile that was drying, students created a waterbackground, adding collage and glued cut out fishonto this.

WIRE CONSTRUCTIONS-FISHStudents explored various methods of joiningwire, and the possible tools that could be used.

Safety precautions were discussed, no wire was tobe lifted off the workbench until both ends werebent around, cotton gloves to be used when hotgluing or handling the wire mesh.After creating an outline of a fish using 3mmArmature Wire, students then created spaces byjoining galvanised florist wire, joining this to themain structure to create a jigsaw of spaces withone space to be left empty.A criteria of materials to be used was listed, i.e.two spaces had to have Wire Form modellingmesh; no two materials were to be side-by-sideetc.Students chose a colour theme, and had an arrayof fabric, papers, pipe cleaners, lace, glitter gluesand foils to choose from. The project lasted forfive weeks and the students were fully engagedthe whole time.

Ormond Primary School


situated at zarteducation service isZart’s Student Gallery.In the Gallery you willfind some outstandingvisual art work createdby students from Levels1-7.

Each term the exhibitionis changed so a newdisplay may be viewedover the holidays,supplying unlimitedideas for the followingterms.

Photos may be taken tobuild up your own folioof resources. The galleryalso gives the studentsexhibiting work theopportunity to bring

their families along toappreciate their visualart.

We are always on thelookout for art work tobe displayed in ourgallery from bothprimary and secondarylevels. If you have anypieces of artwork thatwould be of someinterest, please emailphotos of works to Jan,one term in advance.

Please contact ZartEducation Service forfurther informationregarding the gallery on(03) 9890 1867 or by emailon: [email protected]

Blackburn Lake Primary SchoolPaintings

Brunswick SW Primary SchoolIndigenous Art

Camberwell GrammarDrawings

Carey GrammarInstallation

Dingley Primary SchoolStudy of Thailand

Eastbourne Primary SchoolBirds

Lowther HallPaintings

Ormond Primary SchoolWire Fish

Penders Grove Primary SchoolCabbages & Onions

zart’s student gallery

Penola CollegeTiaras and TotemsRuyton Girls SchoolPrintsSt Benedict’s School BurwoodDrawings and CollageSt Mary’s School WilliamstownDrawings and collageStrathcona Girls SchoolMosaicsSurrey Hills Primary SchoolMetallic mosaicsThe Patch SchoolPukamari Poles Melville IslandsWaverley Christian College Clay faces

“Study of Thailand”Dingley primary school

Grade 4 & Grade 5

FISH WIRECONSTRUCTION

st mary’s school, williamstown

penola college

penola college

Light & Reflection Exhibition

primary article


This Exhibitionincludes workfrom students inall primary levelsand was createdwith theassistance ofArtist in ResidenceCatherine O’Leary.The idea was tostudy the

elements of Colour, Transparency,Reflections and Light. This was achievedthrough the use of materials such asperspex, Scratch Lite, Cellophane, fabrics,Tissue Paper, Armature Wire, Acetate Film,Silver Foil and Mirrors.

Each year level worked on the Exhibitionthrough different mediums and the totaleffect was one of a myriad of colours andsurface textures rebounding off Silver Foiland Mirrors. The effect created anintricate fantasy like atmosphere withlights finishing the picture.

Year Prep students worked throughScratch Lite illustrations on perspex andwire sculptures. Developing simpleshapes with Armature Wire and thenhammering these to transform them intoa fixed shape with texture, created thewire sculptures. These hammered shapes

were then linkedtogether and fixedonto a coathanger with beadsattached to form adecorativeelement.

Year One studentsworked onmobiles madefrom wire coat

hangers pulled into a diamond shape. Inthe top centre of this shape they placed asquare piece of perspex painted withglass paints. The outside of the coathanger was decorated with metallicthreads and other additions includingFlorist Wire threaded with coloured beads.

Year Two students also used wire coathangers as an armature for their mobiles.Using two coat hangers crossed over eachother. They then covered them incoloured Tissue Paper. From this pointthe mobile was further decorated byusing Armature Wire hammered intointricate shapes and placed within thecoat hanger shape. Additional wireshapes were suspended from the base ofthe hangers and clear plastic stripspainted with Posca Pens were alsoattached and hung from the base.

Year Threestudents workedwith colouredCellophane andScratch Lite onperspex panels.These includedcollages ofillustrations onScratch Lite andcollaged pattern

work created from coloured Cellophane.These were made into constructionpanels interconnected with one anotherand placed either on or over mirrorpanels.

Year Four students studied theEnvironment in 2003 and produced theirwork in natural materials such as woolsand silks. They studied the light andshapes produced by tree canopies withinthe Australian bush and developed theirown Bush Canopy. This was developed byusing Merino Wool and felting techniquesand was suspended over the top of theExhibition. Other inclusions from YearFour included silk leaves made from SilkFibres with collage materials of atransparent nature overlaid.

Year Five and Six developed perspexpanels and wire sculptures. As both of

Carey Baptist Grammar, Donvale


these year levels were studying theMedia, their work in the exhibition wasbased on this theme. They developedcollage work using Tissue Paper, colouredCellophane and Acetate photocopies andsandwiched the collage between twopieces of perspex. This was framed byusing Gaffer Tape with holes drilled forhanging purposes. These works werepositioned to catch the light. Other workcreated by these students were wiresculptures that used two wire coathangers crossed over one another andpulled into a diamond shape. The basicshape was then covered with a variety ofintricate shapes moulded from ArmatureWire and hammered into a fixed shape.Each shape was joined together with fineFlorist Wire. The sculpture was thendecorated with fine beads and the

enclosed space within the centre of theshape filled with transparent colouredCellophane.

The whole Exhibition formed a corridorthrough which visitors could walk andview the work. There was a canopyformed overhead from which some of thework hung and mirrors were positionedall along the benches at a variety ofdifferent angles. This allowed for viewingof the work through Reflections thatformed within the mirrors. Additionaldisplay features included covering thewindows and tree branches with crushedAluminium Foil and CD’s were decoratedwith reflective materials. All bench topsthat formed part of the Exhibition werecovered with a Mirror finished card.

All visitors and students have enjoyed ourexploration of the use of Reflection and

Light, and learned a great deal about thequalities of the materials associated withthese elements. We have also playedaround with the topic of themanipulation of Colour and Textures andthe analogy associated with Mediamanipulation in the work produced bythe older students. The effect of angleson shapes and colours and its ability totrick the eye of the viewer was also ofgreat interest. Overall the studentsgained enormous depth in theirunderstanding of these importantelements of Art and Design and enjoyedthe journey we took to develop the work.


Jeanette JenningsArt Coordinator

Carey Baptist Grammar, Donvale

A brush pen with high qualitypigments that is light fast andwaterproof. A brush point providesmaximum flexibility forspontaneous freehand sketches oraccurate detail. These pens have areliable and even flow of ink with apoint that glides softly andsmoothly over the paper. Ideal forgraphic artists, designers,illustrators and anyone who enjoysmaking coloured drawings.Set of 6 basic colours

. . . . . . . . . . . . .$15.92 $17.51Set of 6 shades of grey

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new products

GLOW PAINTA vibrant water based medium that has aglow under ultra-violet light. In normal lightit will still have a fluorescent effect. Nontoxic. Ideal for school drama scene activitiesas well as general craft use. Wash brusheswhilst wet.500ml squeeze bottle with a nozzle.Available in yellow, orange, scarlet, pink,magenta, blue, green and violet.

500ml . . . . . . . . $8.42 $9.26

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NB: Suitable for Primary Classroom teachers, wanting simple, quick fill in activities.Please note not all CLAG products listed are available through Zart Art (Please refer to our 2004 catalogue).

Zart Closure DaysGood Friday 9th April - Easter Monday 12th April.Tuesday 13th April (Zart will be closed for staff

Professional development)

spotlight on mosaics

This unit of work encompassed both individual and groupwork and allowed for a variety of skills to be developed andstudents from every level of the school to participate.The grade 5 and 6 students worked on mosaics for a term.The unit of work began with individual research on thedefinition and history of mosaics, as well as the tools andequipment required. This homework task was used as thebasis for class discussion and from there we explored theprinciples of mosaics: spacing, colour, shape and pattern.The hands-on task was a paper mosaic. Over two sessions,students glued pre-cut mosaic squares onto a square of stiffcardboard, creating a simple design with the focus on usingcomplementary colours.In the next brief students were asked to sketch a mosaicdesign in their visual art diary. This was then drawn on BlackCover Paper using metallic paper. Students quicklydiscovered that the simple designs were the most effective.The third task was to create an individual mosaic withceramic tiles. Students began with a design drawn in their

visual diary and then outlined this design on the back of a20cm sq ceramic tile with a permanent marker.Using a tile cutter they cut pieces of ceramic tiles into thesize and shapes required for their design. These shapes werearranged and glued onto the ceramic tile with tile adhesive.Once the adhesive was dry, black grout was applied tocomplete the mosaic.While the grades 5 and 6 were in the midst of their individualtile project, a whole school mosaic mural was under way. Allstudents were invited to submit a drawing based on theagreed theme of "What we like to do". The final design was acompilation of 30 or so drawings which were sketched ontofour 1 metre x 1.2 metre Hardiboard panels.The drawings were transferred onto the panels using anoverhead projector and a permanent marker. Note the designis drawn onto the grey side of the Hardiboard as the blue sideis the waterproof sides and sits against the wall.Volunteer parents were placed on a roster which consisted offour days of tiling and two days of grouting. It was

anticipated that one parent would supervise studentsworking on one of the four panels.During the mosaic week regular art classes were stopped andstudents came in groups of 12-14 to work on the panels inhalf hour sessions. So at any one time there was an adultand 3-4 students working on each panel.The first step was to outline all the drawings with cut blacktiles. This was an arduous task and undertaken by the grades4-6.The next step was to "fill-in" the drawings with coloured tiles.Once students selected colours, these tiles were broken witha hammer. The younger students arranged and glued largepieces of tiles in place, while the older students cut the tilesand completed the more intricate work.Finally the grouting mix was spread over the panels with arubber trowel and squeegees and the excess grout wasscrapped off with popsticks. Each panel used approximately10kg of grout. Soft cloths were then used to polish the tiles.Six pieces of cork were glued to the top and bottom of each

Sculptor Pamela Irving was engaged to complete acollaborative project entitled Guardians of theChess Set.The project entailed the construction of eightindividual poles that focused on the character ofeach piece of the chess set and that involved allboys within the Junior School.I envisaged that working with Pamela on a largeproject would encourage maximum schoolcommunity participation and the experience wouldbroaden and further enhance the Visual Artsprogramme offered to students of CamberwellGrammar Junior School.Apart from acquiring new skills, my aim was that,through working with a full time practising artist,the students would:• Develop an insight into the creative design processrequired to complete a collaborative piece.• Develop an understanding of how to visualise a

MOSAICS:STEP BY STEP

Surrey HillsPrimary School.

ARTIST INRESIDENCE

PROGRAMME:

Camberwell Boy'sGrammar.

concept as a finished product.• Accept that their contribution willcontribute to the overall project and that itwill not be taken home.• Develop an understanding that artists areof both genders and that the arts is not agender exclusive world.• Develop an understanding of the demandsplaced on artists. For example, by galleries,commissions and through promotion ofone's work and working to a timetable ofcompletion.• Understand that being an artist is anacceptable, profitable way of learning andliving.All students from Prep - Year 5 wereexposed to a variety of media and artistswho use recycled and reclaimed materialsto make visual arts pieces and whole

environments. This approach to art makingreinforced the need of all students to care for theirenvironment and to see that anything can be usedto make art. It also reinforced the notion thatnothing should be disposable, worthless andunloved.Through collecting materials for this projectstudents developed a strong sense of ownership andpride in the completed work.From Idea to RealityPrior to the commencement of the project I met

with Pamela to discuss the possibility of producing aseries of sculptures that could surround our school'snewly acquired outdoor chess set. After muchdiscussion we arrived at the idea to construct eightsculptures titled "Guardians of the Chess Set". Thesesculptures would guide and encourage all whoplayed the game. Each would be a mosaic andfurther embellished with recycled materials. Every

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spotlight on mosaics cont

Once filled the pieces were grouted ... then cleaned.The tiles were cut, broken... then arranged...Design was drawn up.... then outlined...


panel through which the bolts to attachthe panel to the brickwork can be drilled.Black Silicone was used to waterproof theedges and Grout sealer finished off eachpanel.Thanks to a number of willing helpers,supportive colleagues and veryenthusiastic students at Surrey HillsPrimary School, we now have a beautifuloutdoor mosaic wall to be admired andenjoyed by all for many years to come!

Marian Hiland

Finally it was Installed!

......wwee nnooww hhaavvee aa bbeeaauuttiiffuull oouuttddoooorr mmoossaaiicc wwaallll ttoo bbee aaddmmiirreedd && eennjjooyyeedd bbyy aallll ffoorr mmaannyy yyeeaarrss ttoo ccoommee!!

class was identified with a specific chess piece andtasks (apart from the mosaics) that would reflect theidentity and character of their piece. These tasks wouldbe worked on in class on the days that Pamela was notpresent. Due to our commitment to making the VisualArts non-competitive, Pamela went away to design thehead shapes for each piece instead of holding a designcompetition or taking elements from student designs. When Pamela arrived in Term 3, materials had beencollected, head shapes cut from cement sheeting andthe two metre posts cemented into the ground. Withdedicated commitment, focus and terrific energy sheled the boys, staff and whole school on a mosaicjourney. She showed boys whole mosaic and recycledenvironments, which captivated their imagination. One environment that thrilled the boys was a housecreated by a French artist. Her whole house was coveredin mosaics. Her front door was shaped as a mouth, herstairs a tongue. Inside mosaic mirrors adorned thewalls. Fantastically inspiring stuff!

All boys collaborated in making all the elementsrequired to finish the project. Boys broke tiles for themosaics, made and hand painted over 1000 beads forthe Knight's mane, Queen's hair and the King's gown.They modelled horses, castles, flowers for the Queen'sdress and all facial features. Some artists threaded glassbeads and encased then in mesh to create chain mail,while Preps under-glazed tiles with a checkerboarddesign. They collected towels, bottle tops, crockery,jewellery and worn out garden tools. It was pleasingthat the boys involved their families in the process, withone parent stopping to collect brooms for the King'sarms, from curbside hard rubbish.It was truly a fantastic experience for our artists andmyself and the resulting pieces are brilliant.We concluded the 10-day project with a house chesstournament and an official opening with refreshments.The artists were so keen to share their work with theirparents.

eexxppeerriieennccee ...... tthhee rreessuullttiinngg ppiieecceess aarree bbrriilllliiaanntt..””David Williamson

New Resources


new resources

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Nature's Art Box Laura C MartinThis book shows you excitingways to use dry, twisted vines,shells, bark, seedpods andnutshells. There are 65 all naturalart projects to choose from, eachaccompanied by illustrated, easy-to-follow directions. An idealresource for teachers and studentson school camps, for thosestudying nature and after schoolcare activities.

215pp . . . . . . $27.23 $29.95

Karl GroningBody painting,scarification,piercing andtattoos- sinceearliest times,humans havedecorated theirskin in endlessways and forfascinatingreasons. With awealth of

unusual and excitingillustrations this bookpresents some of the finestexamples of body art pastand present, taken from allover the world. Enlighteningcommentaries by adistinguished team of arthistorians, ethnologists and

archaeologists set the images in context, documenting thedevelopment of anextraordinarily broadspectrum of body art, andproviding an astonishingpanorama of bodydecorations through the ages.

255pp . . .$63.64 $70.00

Handmade Paper CollageDawn AckermanCreate collages of incrediblebeauty that evoke different moodsand responses. Find out how toembellish white sheets of paper-the colours and effects you'll beable to achieve will give youadditional creative range.

128pp . . . . . . . $22.68 $24.95

Affirmations of Identity KitThis kit is designed for Years 7-10Visual Arts or Aboriginal Studiesand is made up of four books. Book 1. National Artists.This book focuses on art created fromthe 1960's to the present byAboriginal and Torres Strait Islanderartists. Includes brief biographicaland background information andrepresentative images in full colour.Book 2. New South Wales Artists.This booklet contains colourreproductions of art produced by 21artists, with critiques.Book 3. Protecting AustralianIndigenous Art.Background information onAustralian Indigenous art andEuropean attitudes towards it. Alsoincludes useful guides to copyright.Book 4. Teacher Handbook.Advice on how to make the best useof the kit, including eight units of work.

4 volumes . . . $45.45 $50.00

Stencil GraffitiTristan MancoThis book showcases the work ofthe originators, the innovatorsand the new generation of graffitiartists. Stencil graffiti is beginningto filter off the street, as artistsare inspired to work on canvas,clothing and metal, influencingstyle magazines and the newmedia.

112pp . . . . . . $31.82 $35.00

Street Graphics: IndiaBarry DawsonMuch of today's most exuberant, mostcreative and most telling imagery is allaroundus, in the street. Nowhere is thevisual cornucopia more striking than inIndia, whose streets are a continuousgallery of images vibrantly portrayingthe country's rich cultural diversity. Streetfurniture, architecture, transport,billboards, posters, packaging, animalsand people are all used as the media ofcalculated design and spontaneousexpression. Barry Dawson's photographsare not only a colourful journey throughIndia's cities, towns and villages and agraphic celebration of its creative streetculture, but also an inspirationalsourcebook of vibrant ideas for studentsof art and design.112pp . . . . . . . $40.91 $45.00

Pop Art A ContinuingHistory Marco LivingstoneThis book offers a clear perspectiveon the movement, unravelling thesequence of events associated withthe evolution of Pop in Britain,Europe and the United States ofAmerica. Drawn in part fromextensive interviews withcontemporary Artists & illustratingthe work of more than 130 artists.

270pp . . . . . . . $45.45 $50.00

Extreme Origami Kunihiko KasaharaMove beyond the boundaries oftraditional origami and enter newdimensions of creativity. Theseinnovations to a classic craft areso extensive they could be calledrevolutionary! There are newmaterials, forms and folding anddesign techniques.

72pp . . . . . . . . $13.59 $14.95

Book Spotlight:Decorated SkinA World Survey


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contents

CCurrently in education, there is aworldwide explosion of interest inthinking. It seems to come at a time whenwe are trying to take stock of the rapidtechnological advancements that havechanged the types of jobs we perform andhow we perform them. The idea thatstudents can improve their competence bylearning how to think more effectively ispaving the way for educational change. Itseems our society has realized thatmachines are doing much of the functionand routine thinking previously done byhumans. In an attempt to preserve humandignity and utilize our unique humancharacteristics, we are focusing on an areawhich machines, so far, haven’t mastered:that of high-order thinking, be it, forexample, analytical, divergent or creativethinking.

The old view that thinking depends ona person’s inborn ability has beendismissed by many well-respectedresearchers who argue that thinking is alearned process and should not be left tochance. Using the building blocks ofexperience, some people are quicker thanothers in acquiring skills and strategies inthinking - study skills are one example ofthis - but for most of us it is appropriateteaching skills that will help raise ourawareness and teach us new strategies toimprove our level of competence. Dr ArtCosta, an American at the forefront ofresearch in creative thinking, claims, “Ittakes skill and practice to think creatively

and thoughtfully” and “You don’t teachstudents to think in just one lesson or oneyear”.*

A call for The Thinking Curriculumchallenges us to revise current pedagogyand look at teacher quality and the type ofclassroom climate conducive to thinking.

Most schools are opting to changetheir approach to teaching by making thesteps of thinking more explicit, ratherthan treating it like an add-on subject. Inthis quest to educate better thinkers, thereare some fundamental questions that arebeing addressed, such as: How is thinkingactually taught? How much time shouldbe spent on the process (of thinking) asopposed to content? Are there methods,techniques and strategies that can betransferred from one discipline toanother, and from the classroom to thereal world?

Without doubt, classrooms with highquality teachers and a climate wherestudents are not afraid to take risks arethe ones that will empower students todevelop broader thinking capabilities. Asfor creative thinking methodology, is it awell-kept secret that the art room has longbeen a place where creative thinking hasflourished? Although the practice ofteaching uncreative thinking does exist insome art rooms, for the most part artteachers have a genuine interest inengaging students in creative thinking. Inone art lesson a teacher might ask

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Zart’s Student GalleryWhat’s on and featuring inour Gallery for Term 22004.pa

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Profile:Knitting in school HoursKalinda Primary Schoolknits for a good cause.pa

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Primary Article:DragonsMontrose PrimarySchool Montrosepa

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Zart EducationService.

Zart Art Term Two : This will be aneventful term as we get set for the 2004Athens Olympic Games, as well asventuring through creative doorways inBook Week 2004! To help celebrate, Zes &Zart have released two great new books(see page 9) & have organised many fresh &creative workshops that will spill overinto term 3. Please refer to your term 2workshop insert or our website for up-to-date workshop details :www.zartart.com.au/Workshopsmain.htmTopping off the term is our annual ZartArt Expo & Clearance Sale on july 9th, 2004.Arrive early & pick up a bargain or takepart in one of our F R E E productdemonstrations! (see page 9 for more info)

The Visual Thinking Curriculum

The good teacher instructs,the excellent teacher invites,

the superior teacher involves,the great teacher inspires.

Robin Fogarty : Chicago, 1999

students to set their own questions to stimulatecritical and analytical thinking in response tospecific art works. Then the hands-on path toenrichment and creativity might challengestudents to think divergently about a specifictool or medium to discover its properties. Oncethese discoveries have been made, studentsmight indulge in risks and develop independentthinking to create their own art works. Thisrange of thinking skills could well be adopted byother disciplines, especially those that are morecontent driven. All this high level thinking willprepare students to operate more effectively inour changing society. After all, life is a lifelongadventure in learning and learning requiresthinking.


*Engaging the Brain - article by Dr Art CostaTeachers Make the Difference by Robin Fogarty,Hawker Brownlow Education, 2001.

More Ways Than One - Fostering Creativity byArthur J. Cropley, ablex Corp., 1992.

The Thinking Curriculum by John Nisbet, fromResearch in Education no. 47 Autumn, 1990.

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ClaymationDiscover the complexity ofclay animation with JohnCordon.

Activity: Calico bagsDecorate your own CalicoBags!

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The idea of this unit was to combine thedevelopment of drawing and designskills with an appreciation of art in

other cultures, particularly in Asia andJapan. I collected an array of paintedartefacts such as silk fans, umbrellas,scarves and wall hangings as a motivatorfor discussion. We also discussed design,proportions, pattern, line and colour.

Task One

The students were excited by the idea ofdrawing onto a Paper Screen. The theme of‘Dragons’ was chosen because of the strongassociation with Asia and because it is adramatic subject that captured theimagination of the students.

Their first task was to sketch their design on

to paper of the same space as the screen. Iused Kate Hart’s Drawing Dragons (Dragons- Zart Art Pub. 1993) to stimulate ideas forpossible images that the students couldcreate. We discussed the layout of the pieceand position and attitude of the dragon onthe screen, eg. Will your creature be flyingup the screen or down the screen and,importantly, will your design fill the space?

Task Two

During this lesson I demonstrated sketchinga dragon and we talked about shape, lineand pattern.

Students completed their sketches andoutlined them in black felt pen. They werethen able to trace their drawings on to thePaper Screens.

Task Three

We used Ocaldo Blocks to paint the dragons.During this session we discussedcontrasting colours, backgrounds andpatterns. A large selection of wonderfulcoloured and printed papers were alsoprovided to enhance their work, and let’snot forget a liberal splatter of Glitter,Sequins and Gold and Silver Pens.

Conclusion

The students’ work will be displayed in allits glory at our Autumn Fair Art Show sothat proud parents and the schoolcommunity can enjoy the wonderful workour Year 6 artists have produced.


A DALLIANCE WITH DRAGONS

Mary CooperMontrose Primary School

primary article


Most people would define achurch or a temple as a houseof God where worshipperscome to pray. For me mychurch and my religion weremy inspiration for my Year 12art folio. Church interiors aregreatly defined by their uniquecarved decorative features andtheir statues, which havedominant stance anddefinitive designs. I sat inchurch one day and wascaptivated by what wasaround me, and I wonderedhow such beautiful pieceswere created. As I sat there, itoccurred to me that I wasreally sitting in a religious artmuseum.

The theme for my art folio

was ‘that which is categorisedas either religious art or gothicart’. In order to incorporate myreligion into my art workconcept, I began to researchwhat Catholicism was aboutand why it drew so manyworshippers to believe in thisfaith. Many biblical scriptures,fonts, references, images andmiracle sightings wereresearched as I wanted tothoroughly review the basis ofmy art works concept ofdesigns.

While I tested many mediaand created each piece of artwork, I kept the wordssimplicity, antique, religiousand ancient in mind. The threelarge panels were constructed

out of a range of media, whichwere combined to create thecollaged look. Papers rangingfrom all styles of texture yetlimited to a theme of colourssuch as black, white, cream,gold and bronze were then cutinto squares and rectanglesand used for the collage.

Certain sections of thepanels contained biblicalstories that were printed ontracing paper, while otherpanels were created fromscratch by applying spraypaint, acrylic paint and posterpaint to many differentstylised papers. Another formof mixed media that was usedwas black silk material thatwas cut and placed on the

collage to create a unique andindividual look to a particularsection. Layers upon layers ofmaterials were placed on topof each other while I workedon the foreground, scale,balance, shape, colour andtexture of each panel.

The art works combinevisual communication designtechniques that I learntthrough my art and myknowledge of materials, whichI had gained through my studyof textiles; these were themain subjects I studied in myVCE years. However, it wasn’tuntil Mrs Daniella Franze - myvery enthusiastic anddedicated art teacher, whosepassion for art is an

secondary article


Religious InspirationThomas Carr College

cont.!!

LEFT: The developmental process. Snapshotsfrom Alloyesha’s Visual / process diaries.


secondary article cont

inspiration to many - suggested that Iapply Shellac glaze, that these piecesturned into sacred- looking treasures ofthe biblical and ancient world. Manysmaller works were also created as I triedto revolutionise Catholic art of the past toform modern contemporary pieces. Theuse of scripture and typography designswere also incorporated throughout myfolios and art works.

Overall, the art pieces were createdfrom a religious point of view with theaim of challenging individuals viewingthe art work to look at their own faithresponse. As a Catholic, I see my religionrepresented and compressed into acollaged mixed media construction. Thewhole outlook is portrayed as a stainedglass window, yet once analysed, it canclearly be seen as sections of biblical

images. The light that shines through thepillars is the reflective sunlight within thechurch, and the Shellac glaze representsthe antique woods and various otherstructures that churches are famous for. Isearched high and low only to find theinspiration for my masterpiece in myreligion.

Alloyesha NewmanThomas Carr College

Hoppers Crossing

Claymation by John Cordon

In the shadow of Adam

Elliot’s Oscar winning

Harvey Krumpet, here’s an

article on claymation to

further inspire you.

Contact John Cordon [email protected] for dates of

forthcoming clay animation courses.

Mostpeople

watching a clayanimation film such as

Big Day Out featuring Wallace& Grommit, or Chicken Run have no

idea of the amount of work involved ineach second of film.

When Grommit looks up from hisnewspaper at the breakfast table, hisexpression of bewilderment at hismaster’s remarks is carefully craftedframe by frame by master animators,who complete about five seconds ofusable film in a day ... not a

profession for the impatient. The brainbehind Wallace and Grommit is themodest UK based Nick Park, whoseems blessed with infinite patienceand an eye for detail.

These days anyone with a simpledigital camera and an appropriatelyequipped computer can makerespectable clay animation films athome. Here are a few tips to help youget started:

A clay animation armature is madefrom Balsa Wood and Aluminium Wire.(See diagram left)

All stop-motion puppets are similarin construction; they always consist ofa support skeleton called an armature,covered with a costume made of some

material like Plasticine or a rubberysubstance called Foam Latex.

When designing a stop-motionpuppet it is important to consider theactions that puppet will perform. Mostoften you will already know what isrequired. However, it is still importantto consult the story-board once ortwice to make sure the puppet iscapable of the actions required by thescript. Eg. A character which is sittingwill obviously not require muchsupport in the legs. Alternatively, acharacter that moves its arms aroundconstantly will require a sturdierarmature that won’t break fromrepeated movement.

Another point worth considering isthat you may need to make a smallerversion of the model for wide-angle ordistance shots.

The common tools used are: Pliers,Utility knives, Supertac, Epoxy Resin,sculpture tools, Soldering irons, Hot-glue Guns, paints and brushes.

Modelart may be used instead ofPlasticine for any parts of the puppetwhich will not move, therebyeliminating annoying touch-up jobs onthese parts from handling the puppet.Wallace has his torso made of this typeof oven-curing medium. You can tellbecause it is glossier.

When animating, use a soft surfacelike Polystyrene as your floor so thatyou can secure the figure’s feet usingPins.

For lip-sync there is an animationmethod called the replacementtechnique where for talking anddifferent expressions, multiple headsare used in a variety of different poses.

Use beads for eyes. You can paintthe pupils on and you can move theeyes with a pin.

Always wash or clean your handswhen changing fromone colour Plasticineto another. This willprevent smudges ofa differentcolour, whichcan befrustratingtoremove.

term2004


LEAFOn a sheet of Camelot Board trace aroundprepared leaf stencils and cut them out.(Work on the dull side). Go over the outline ofthe leaf with a Black Zart Drawing Block.Draw in the leaf veins. Sponge paint(dabbing) with Ocaldo Block water basedpaints. Use either cool or warm colours notboth.CATERPILLARStuff a stocking leg with Nylon Filling.Tie a knot at the end and tie sections alongthe body. Paint the stocking bodies withChromacryl Paint mixed with PVA (childrenchoose a colour opposite their leaf colour i.e.choose a warm colour if the leaf was paintedin cool colours). Two coats may be needed.Set aside to dry on a plastic surface.Shape the caterpillar before it dries as the PVAwill stiffen and keep its shape.When dry, paint over the caterpillar bodywith Liquid Glitter. Add eyes, Chenille Stemsand Pom Poms. Decorate with felt scraps.Glue the caterpillar to the leaf using a HotMelt Glue Gun.

situated at zarteducation service

is Zart’s Student Gallery.In the Gallery you will

find some outstandingvisual art work created

by students from Levels1-7.

Each term the exhibitionis changed so a new

display may be viewedover the holidays,

supplying unlimitedideas for the following

terms.

Photos may be taken tobuild up your own folio

of resources. The galleryalso gives the students

exhibiting work theopportunity to bring

their families along toappreciate their visual

art.

We are always on thelookout for art work to

be displayed in ourgallery from both

primary and secondarylevels. If you have anypieces of artwork that

would be of someinterest, please email

photos of works to Jan,one term in advance.

Please contact ZartEducation Service for

further informationregarding the gallery on

(03) 9890 1867 or byemail on:

[email protected]

Ashburton Primary School3D Ceramic ThongsBallam Park Primary SchoolMona LisaBallarat GrammarPrintsBox Hill High SchoolBook IllustrationsCanterbury Primary SchoolDrawingsCroydon North Primary SchoolSnails Glenferrie Primary SchoolSun PicturesHawthorn West Primary School Space ConstructionsLowther Hall Senior SchoolPaintingsMercy College Coburg Paintings

Montrose Primary SchoolDragons Mossgiel Park Primary SchoolCane and Tissue CreaturesNiddrie Primary SchoolSunglassesRed Hill Consolidated SchoolCeramic PotsSt Leonard’s CollegeLitho SketchesThomas Carr College Mixed MediaWandin Yallock Primary SchoolNed Kelly PaintingsWattle View Primary SchoolMasksWesley College PrahranFeet Paintings

CaterpillarsCroydon North Primary School

Angela Spiros

Zart’s Student gallery

Red HillConsolidatedSchool

ST LEONARD’S COLLEGE

hawthornwest primaryschool


profile

Over the past few years,students at Kalinda PrimarySchool have incorporated thecraft of knitting and crochet intoother areas of their studies. Underthe theme of How Can I Help You,the students looked at differentways communities help supportindividuals and groups who are inneed, and how they could becomeinvolved. Part of this unit of studyinvolved visits to a local elderlypeople’s home where they metthe residents over a few weeksand perhaps read to them or justchatted. When these visits werefinished the students decidedthat they would like to givesomething so that their visitscould be remembered, especiallyby those residents that don’t getmany visitors. The children learnthow to crochet squares, whichthey then collated and sewedtogether to make knee rugs. Manyparents volunteered to help with

teaching small groups who thenpassed on their newly learnt skillsto other members of their class. Afew students then went alongand presented the knee rugs thatwere much appreciated. Thisactivity will be repeated in TermThree for 2004.

During 2003 the students’study topic was WHOSE IDEA ISIT? This unit was a study abouthow everyday items are designed,working through the followingsteps:

1. thought of to satisfy a needor desire;

2. designed to do this for aparticular consumer;

3. designed with cost efficient,durable materials;

4. produced using varioustools and machines;

5. packaged for transport andsales purposes;

6. meeting the need or desirefirst discussed, or reviewed toachieve this.

The students were asked tothink about how an item is madefollowing the above steps. Theythen presented their displays indifferent ways, eg. interviews withpeople, photos, diagrams, books,posters, samples, etc.

To support the design-to-completion process in class, allstudents watched the spinning ofalpaca wool. They knittedscarves, made heat packs usingsewing machines, and wovebookmarks. The craft side of thistopic was done over severalweeks, again with many parenthelpers.

Inspiration andencouragement was giventhrough storybooks, eg. Mr Nick’sKnitting - about a grandpa whoknits while travelling on the train.

Teaching Mr McLean (one of thegrade teachers) to knit theninspired the knitting of footyscarves. The students enjoyed thechallenge of learning the skill ofknitting, and it became a popularactivity even after the allocatedtime-slot with many childrencontinuing to knit as theydiscovered many new andexciting knitting yarns. Somefinished projects became gifts forfriends.

These craft topics have been ofgreat benefit to our students notonly for the enjoyment theyexperienced and the new skillsthey acquired, but also becausethese activities helped with handco-ordination and concentration.

Knitting

Maureen HurleyParent

Kalinda Primary School

in school Hours


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Now available in packets of 18, thesethick oil pastels are highly pigmented,giving strong clean colour, ideal forblending and mixing. Their soft paintquality characteristic also allows for animpasto style. Finished work can be fixedwith Supermix Fixative.

Assorted 18s . .$14.10 $15.51

supermix 18’s

by Zart Education ServiceThe OxfordDictionaryquotes doorwaythus- ‘Hinged orsliding barrier,usually wood ormetal, for closingentrance tobuilding, room,safe, etc.’

Doorways lead us into spaces -sometimes places we have never beenbefore. Books do this for us too.

This book explores many activitiesaround this exciting theme, as well asactivities for the short-listed EarlyChildhood and Picture Books of 2004.See the insert for the listed Book Weekworkshops conducted by ZartEducation Service.Books available from May 24th 2004

Each . . . . . . . .$25.00 $27.50

new products

27 cm x 21 cm sheets of layered tissuepaper glued together to form concertinacells.Cut any shape out of this amazing paperand you instantly create a honeycombeffect. Glue ends together to form worksof art to collage, hang or incorporate intoother projects.White

pkt of 10 . . . . . . . . . . $23.22 $25.54Assorted Colours

pkt of 10 . . . . . . . . . .$23.22 $25.54

NYLON WINGS Pre formed wings made fromstocking and wire. 45 mm x 65 mm

Pkt of 12 . . . . . . . .$1.91 $2.10

calico bagsThese 35 cm x 45 cm sturdy CalicoBags with two long handles areready to paint and decorate withDual Fabric Paint, Polymark PaintPens, sequins and beads.

Each . . . . . . .$1.65 $1.82

olympicsAncient Greece & the Olympians. People in Action.

Book Week 2004Door ways

HONEYCOMB PAPER

This full colour publicationstarts with the history of theAncient Olympic Games - whenand where they were held, whythey started, what venues werebuilt and why they ended. Itfocuses on the participants,their rewards, the Olympic oathand the origins of differentsports. The publication alsoencompasses the history of themodern Olympic Games, whyand how they started, thepeople who participate, as wellas a look at the Olympicsymbol and flag.A section on Ancient Greekculture looks at pottery,sculpture, architecture and

mosaics.This book includes twentydifferent activities with step-by-step instructions suitablefor levels 1-5, illustrating theOlympic games with a varietyof media. Learn how to drawpeople in action, create figureswith wire, construct stadiumsand model ancient Greek ruins.The Athens 2004 supplement isfree with books purchasedduring 2004 (whilst stocklasts).See the insert for the listedBook Week workshopsconducted by Zart EducationService.

44pp . . . .$32.95 $36.25


CALICOBAGS

MaterialsCalico Bag

Printing FoamBallpoint Pen

Dual Fabric PaintPolymark Paint Pens

Discuss different ways ofreplicating an image to createan art piece. Look at anddiscuss Andy Warhol’s MonaLisa 1963 and Marilyn Diptych1962, screen-printed images.Students might choose a popor film star as their subject oran object they would likeseen replicated.

1. Draw the subject of yourchoice on an A6 sheet ofDrawing paper, keeping thedesign as simple as possible.2. Place the drawing over apiece of Printing Foam, hold itin place whilst you trace overthe drawing with a BallpointPen.3. Take away the paper and usea Ballpoint Pen to go over thelines directly on the PrintingFoam.4. Place a few sheets ofnewspaper inside a Calico Bag.5. Roll the Dual Fabric Paintonto the Printing Foam with aFoam Roller.6. Place the wet Printing Foamdown onto the Calico Bag andpress the back of the PrintingFoam with your hand. Peelaway the Printing Foam toexpose the print. 7. Repeat this step with eithera different colour or repeat theimage in the same colour tocover the entire front surfaceof the bag.8. Touch up the backgroundcolours with a brush and DualFabric Paint or select parts ofeach image to highlight with adifferent colour.9. When dry the Calico Bagmay be ironed to fix the paint.10. Lines might also behighlighted using PolymarkPaint Pens.

Decorate your own calico bags with these creative activities.

Painting

Print

ing

activities


Join us in a day of fun, bargains andinformation at Zart Art’s Annual OpenDay.

The Clearance Sale will offer you thechance to pick up art materials atbelow cost prices. Free Printmakingand Knitting Workshops withinstructors guiding you through thestep-by-step process of making worksof art.

Four sessions throughout the day foryou to choose from for teachers only.

Bookings essential so please ring 03 9890 1867

Session 1:Knitting and Felting: 9am-10amSession 2:Knitting and Felting: 10.30am-11.30amSession 3:Printing Foam: 12.30pm-1.30pmSession 4:Printing Foam: 2pm-3pm

Plus ongoing demonstrations by artsand crafts people throughout the day!

Zartworks - our retail outlet will beoffering retail customers a 20%discount on all purchases made onFriday 9th July and Saturday 10th July(morning only).

zart expoZART ART’S OPEN DAY & CLEARANCEFRIDAY JULY 9th9am - 4pmOne Day - Cash Only Sale

Procion Painting Powdermakes a liquid solution,which allows Procion Dyes tobe painted or air-brushedonto natural fabrics.Dissolve approximately 125gof Painting Powder in 1 litreof warm tap water. (This willkeep indefinitely as a stocksolution.)When working with silk,Soda Ash is not necessary.For all other fabrics, add twoteaspoons of Soda Ash per

litre of Painting Powdersolution. On the day of dyeing, selectthe colours and form a pastewith one heaped teaspoonof Procion Dye and a littlehot water, then dilute withthe Painting Powder solution.• For full strength dye addtwo tablespoons of dyepowder to 1 litre of PaintingPowder solution, i.e. approx.one teaspoon of Dye Powderto 100ml of Painting Powdersolution.• To thicken the dyes addManutex Liquid.

1. Use Food Dye on A3Drawing Paper to design thecolour and pattern to beused on the Calico Bag. 2. Place a few sheets of

newspaper inside a CalicoBag. Tape the bag down ontoa flat surface.3. Use a paintbrush to paintthe Procion Dye onto theCalico Bag, painting all thecolours on at the one time.Set aside to dry.4. Use threads, sequins andbeads to further enhance thedesign.

g with Procion

Dyes

Christmas bagsMaterialsCalico Bag Print Foam

Ballpoint PenDual Fabric Paint

Sequins Christmas Bead Box

Craft GlueMetallic Yarn

MaterialsCalico BagProcion DyesProcion Painting PowderProcion Manutex Liquid

1. Choose a symbol ofChristmas and draw thesymbol on an A4 sheet ofDrawing Paper.2. Place the paper over asheet of A4 Printing Foamand trace over the lines ofthe symbol.3. Take away the paper anduse a Ballpoint pen to go

over the lines directly on thePrinting Foam.4. Paint the Dual Fabric Paintonto the Printing Foam inthe colours selected andpress the painted PrintingFoam onto the Calico Bag.Press the back of the foamwith your hand.5. Peel the Printing Foam

away from the bag and setaside to dry.6. Iron the back side of theimage to fix the paint.7. Use Metallic Yarn, Sequinsand Beads, glued or sewnonto the painted symbol tofurther enhance the image.

Art ExplorationsBelinda Duncan30 art projects based on wellknown art works or artists. Artideas from: Kurt Schwitters’

rubbish, Jan Pienkowski’ssilhouettes, Henry Moore’spositive and negative sculpturesand the art of illumination.

80pp . . . . . . . $31.77 $34.95

New Resources


new resources

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Fred Williams:An Australian VisionThe Australian painter and etcherFred Williams (1927-82) is a keyfigure in Australian art of thesecond half of the 20th century.This book presents a lively surveyof Williams’ remarkableachievements as a painter-etcherand the development of hispowerful and original vision of theAustralian landscape.

128pp . . . . . . . $50.00 $55.00

Foundation of Art & DesignAlan PipesThis book provides an

introduction to the fundamentals

of art and design. With a wide

range of illustrations, Alan Pipes

demonstrates how an artist fills a

blank canvas, with points, lines,

shapes, textures and colours, in

order to create a sense of space,

time and motion. It reveals how to

develop unity and harmony,

balance, scale and proportion,

contrast and emphasis, and

rhythm.

272pp . . . . . . . $54.55 $60.00

Learning about LibrariesJann Rutherford & RobinThackaberryAn addition to the unique series ofbooks that assist classroom andlibrary teachers in teachingstudents library skills. An easy to follow step-by-stepframework of the research processis provided, along with teachingtips for each topic.

52pp . . . . . . . . $31.77 $34.95

Australian Art in the Art

Gallery of New South WalesA focus on the Australian artcollection of the Art Gallery ofNew South Wales.The collection contains works thathave become indelible landmarksin the history of Australian art.Richly illustrated with over 300full colour reproductions.Each chapter contains a group ofmajor works reproduced in largeformat, accompanied bybiographical notes andquotations placing each work inits contemporary context.

304pp . . . . . . . $61.82 $68.00

The Asian Collections.Art Gallery of NSW.

The Asian Collections at the ArtGallery of New South Wales aredistinguished by the breadth ofcultures they embrace. Includingexquisite calligraphies, traditionaland modern paintings, rareporcelains and rich textiles, andthe extraordinary legacy ofBuddhist art from South,Southeast and East Asia. This bookshowcases nearly 500 works fromthe collections.

352pp . . . . . . . $36.36 $40.00

Let’s Face It.The History of the Archibald Prize Peter RossPeter Ross guides the readerthrough the disputations andsometimes rocky history ofAustralia’s most famous art prize.Peter Ross spent four years withthe Gallery of New South Walesinterviewing artists andmoderating discussions at theGallery.

155pp . . . . . . . $45.45 $50.00

Modelling in ClayDorothy ArthurThis is a step-by-step guide to modelling heads, torsos and otherfigures. Clay and terracotta are the main materials used but othermaterials such as ciment fondu and resins are discussed. The bookalso features techniques such as building an armature, moulding,casting , mounting and mock bronzing. Indeed, it is a completehow-to-do-it book on modelling for the beginner.

128pp . . . . . . $40.91 $45.00

Book Spotlight:

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Careersinart

inc. 4 pagesupplement

Activity: Zart PaperMagiclayMould, stretch, colour,decorate!


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cover +

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OOne of the greatest art events ever seen inAustralia opened at the National Gallery ofVictoria on Thursday 17 June.

Melbourne Winter Masterpieces? TheImpressionists: Masterpieces from the Muséed’Orsay displays more than 90 iconic worksby 35 great artists including ÉdouardManet, Claude Monet, Vincent van Gogh,Paul Cézanne, Edgar Degas, Pierre-Auguste Renoir, Camille Pissarro, PierreBonnard, Henri de Toulouse-Lautrec andAlfred Sisley.

Major works have been drawn from theprestigious Musée d’Orsay in Paris, withother outstanding works sourced from bothprivate and public French and Australiancollections.

NGV Director, Dr Gerard Vaughan says:“This is the finest collection of FrenchImpressionist paintings ever to come toAustralia, and in fact one of the finestcollections ever to leave France.”

“For the first time, Australian audiences willbe able to view some absolute masterpiecessuch as Édouard Manet’s The balcony, PaulCézanne’s The card players, Vincent vanGogh’s Starry night over the Rhône andAristide Maillol’s Woman with parasol.

“Because of their status and importance,these works have rarely left the walls of theMusée d’Orsay,” said Dr Vaughan.

The Impressionists can only be seen inMelbourne and is not touring to any otherState or gallery.

These most important Impressionist workswill take visitors on a journey through acentury of phenomenal change– a periodthat helped to shape our modern world.

The Impressionism movement began in the1870s when a group of young avant-gardeartists developed a revolutionary approach toart. Opposed to the more academic,conservative mould of Salon-style painting,these artists harnessed individuality andfreedom of expression.

The exhibition’s coordinating curator, DrTed Gott says: “The extraordinary thingabout this exhibition is that it gives us forthe first time in Australia, a completesurvey of what was happening in paintingin France from the early 1870s to 1900.”

The Impressionists: Masterpieces from theMusée d’Orsay is part of the MelbourneWinter Masterpieces series, which will bringblockbuster exhibitions to Melbourne eachwinter over the next three years. MelbourneWinter Masterpieces is a VictorianGovernment initiative organised throughthe Victorian Major Events Company andArts Victoria.

Exhibition admission fees apply: Adult $20and Concession $16. For more informationon The Impressionists: Masterpieces from theMusée d’Orsay contact NGV International on03 8620 2222 or visit the website atwww.ngv.vic.gov.au The exhibition has been organised by the National

Gallery of Victoria and Art Exhibitions Australia

Limited in collaboration with the Musée d’Orsay, Paris.

Indemnified by the Australian Government.

Zart Students’ GalleryWhat’s on andfeaturing in our Galleryfor Term 3 2004.pa

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Profile:Baby Asian DragonsKangaroo Flat PrimarySchool, Bendigopa

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Secondary Article:Animals with AttitudeAvila CollegeMt Waverleypa

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Zart Students’ GalleryThe gallery features artworks made by students ofPrep to Year 12 from allaround Victoria. Schoolscan arrange for students tovisit the gallery, analysethe works of their





KLA’s group.







zart art term three: thank you to those ofyou who attended our annual zart expo. wehope you picked up many bargains & enjoyedboth our workshops & demos for the day!Our website has been updated- it nowincludes the term’s news, zart extras (+archive), zart students’ gallery listing (+archive) & our workshops. our aim is todevelop our site to make it a valuableresource & information centre for all ourcustomers. workshops this term includebook week & olympics. please refer to yourterm 3 workshop insert or our website forup-to-date workshop details :www.zartart.com.au/Workshopsmain.htm

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The Impressionistsare coming...

ZARTEXTRA

A Visual Artspublication

producedeach term for

Pre-school,Primary &Secondary

Teachers byZart Art

& ZartEducation

Service.

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Careers in Art - Zart’sStudent Suppliment!Five creatives who haveturned art into a career!

Primary Article:Ceremonial Poles & FiguresThe Peninsula SchoolMt Elizapa

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The aim of this task was to exploreand refine drawing and designtechniques using ‘favourite animals’as a theme. By using decorative,repeating patterns and exaggerationof facial features, the students were toshow something of the character oftheir favourite animal.

Arts Practice: 5.1, 5.2

Starting points: As a starting pointfor this task, pictures of animals werecollected and we looked at a variety ofimages, comparing the specificfeatures of photographs with linedrawings. Students also looked atcaricatures from newspapers. Theydiscussed how the caricaturist was ableto identify and exaggerate facialfeatures in order to provide us with aninsight into the actual character of theperson.

Production: On A4 paper and using afine line black pen, students wereasked to identify and outline thedefining features of the chosen animal,making the image fill the page. Wethen looked at areas of tone in thephotograph, identifying light to verydark. In the drawing, the very darkareas were then filled in with a thickblack marker. Students were thenencouraged to fill all areas of thedesign with repeating patterns, whichcorresponded with the depth of tonein the original photograph. Whencompleted, a thick marker was used tooutline the main facial features of theanimal. Each student’s drawing wasthen photocopied on to their choice ofthree different coloured pieces of copypaper. Segments of these pieces ofcoloured paper were cut and pastedinto position.

Responding to the Arts: 5.3, 5.4

During the production of this artwork we looked at two art works byLin Onus - Fruit Bats (1990) andArafura Swamp (1990). In ArafuraSwamp, Onus combines the photo-realism of white culture (what is seen)with traditional Aboriginal patterns(what is known), whilst with Fruit Batshe presents a comical view of hissuburban world. Students identified,discussed and made written responsesabout how different cultures makeand view art work for particularcultural purposes. They alsoconsidered the way images and formscommunicate meanings.

Students enjoyed the project andproduced a wonderful variety ofcharacter- filled animal faces anddelightful decorative patterns.

Year 8 Drawing & Design Task

secondary article

Animals with Attitude

Students were encouraged to fill all areas of the design with repeating patterns...

Andrea MatthewsSenior Art Teacher

Avila College, Mt Waverley


term2004

This unit of work was based on the concept of

positive and negative space and the idea of

reflections. The work began with students

discussing and designing buildings. Students looked

at, and completed an appreciation assignment into

the work of Spanish architect Antonio Gaudi. His Art

Nouveau designs expanded their ideas of the shapes

a building might be based upon and the features it

might have.

Students silkscreen printed a background, using

classroom paints, in colours of their own choice but

with the blending of harmonious colours

emphasized as a way of achieving bright results.

Black paper was then used to cut the shapes of a

row of buildings. One or two features were cut from

each building too. These details needed to be cut

very carefully with Utility Knives, as all parts of the

black paper were essential to the finished design.

The black background, or negative space, was glued

down onto the screen print and the buildings

themselves reflected and glued into position below

their original position. Featured details were

reflected back up and glued into place. In this way

interplay between positive and negative space was

achieved, with both important to the finished work,

and the colours created the idea of reflection.








terms.





art.






Please contactZart Education Servicefor further information

regarding the gallery.Ph (03) 9890 1867

or email:[email protected]

ReflectionsAvila College

ReflectionsAvila College

Marjolyn Willis Art Teacher Avila College


Overnewton AnglicanCommunity CollegeAmadeo ModiglianiThe Peninsula SchoolTurtles & InsectsWandjina Figures Penleigh and Essendon GrammarMasks Clay Ruyton Girls SchoolPeter Booth inspired Tonal WorkSpringview Primary SchoolWall HangingSt Catherine’s Junior SchoolStill LifeSt Joseph’s School HawthornArt worksSt Mary’s College SeymourFabric Collage Thomastown West PrimarySchoolChinese Opera MasksTrafalgar Primary SchoolIndigenous Art Yarrabah SDSArt works

Albert Park Secondary CollegeVisual art

Altona Primary School Embossed Foil Insects

Avila CollegeAnimals with Attitude

Aspendale Gardens Primary SchoolModel Magic Faces

Dingley Primary SchoolBolts

Eltham College JuniorUrns

Gunbower Primary SchoolWood Parquetry

Heatherhill Primary SchoolEmbossed Foil

Hughesdale Primary SchoolIndonesian Flower Designs

Kangaroo Flat Primary SchoolDragons

Mentone Boys Grammar JuniorSchool

GobletsMoreland Primary School

DragonsHughesdale Primary

School

kangaroo flatprimary school

Hughesdale Primary School

Year 5 students atThe Peninsula Schoolstudy Early Australia astheir SOSE unit. Theirstarting point is, ofcourse, the AustralianAboriginals who havelived in themagnificent Kimberleyregion for 40 thousandyears. An interestingunit of art has evolvedthrough our support ofthe SOSE

Learning Outcomes

1. That the studentswill develop anappreciation of howsacred the land is tothe Aboriginal people.

2. That the studentswill learn how beliefs,traditions and artstyles and images varyamongst Aboriginalclans and in differentregions throughoutAustralia.

3. That the studentsunderstand the manystories relating toAboriginal Art anddevelop an awarenessof the significance ofThe Dreamtime to theAboriginal people.

4. That the studentsuse relevant referencesto inspire them tocreate art works basedon the art of the

Australian Aboriginals.

5. That the studentscreate two and three-dimensional art worksthat are well balancedand expressive.

Introducing thetopic.

It is important togive the studentssome backgroundinformation onAboriginal beliefs toraise their awarenessof the significance ofAboriginal art to theAboriginal people. TheDreamtime refers tothe Aboriginalunderstanding of howthe land and its peoplewere created. TheDreamtime, alsoexplains how naturalforces such as thunder,lightning and rainexist.

BackgroundInformation about theWandjina of theKimberley region inNorth-WesternAustralia.

The Kimberley regionis famous forpaintings of Wandjinain rocks and caves andin contemporary worksof art. Wandjina aremythical beingsbelieved to have comefrom the sky and thesea during ancienttimes. They arethought to have lefttheir images inpaintings on thesurfaces of rocks. Theimages are human-likeand coloured black,


primary article

Ceremonial Poles & Figures

Ceremonial Poles & Figures

A unit of threeactivities designed

to promote anunderstanding of

AustralianAboriginal Art.

Inspired by Images of

WandjinaThe Peninsula School, Mt Eliza



red or yellow over a whitebackground. They are based on cloudsand have halos or strands of hairradiating from their heads. They havelarge eyes with prominent eyelashes,a vertical line for a nose, but nomouths. The paintings of Wandjina incaves were revered and repainted ifthey faded as the spirits were thoughtto be very powerful. Wandjina spiritscontrolled lightning, floods andcyclones so were not to be offended.They also influenced fertility andbrought good luck to hunting andfood gathering. Today few Aboriginesstill believe the Wandjina myth butthe image endures in Aboriginal art.

Art Activity One: Drawings ofWandjina using Zart Supermix OilPastels

I showed the students library bookswith images of Wandjina and told themsome myths written about the spirits.I then asked the students to devisetheir own image of a Wandjina usingZart Supermix Oil Pastels on brownpaper. The results were rich and exciting.The students embraced the mythologyand imagery. Wandjina symbols areaccessible for students to replicate.The students felt uninhibited andinspired by their task. Colours werelimited to mainly what Aboriginalartists in the Kimberley would haveused on rocks. However, it was notedthat contemporary Aboriginal artistshave most colours available to themand so some students used a widerarray of tones.

Art Activity Two: Ceremonial Poles

Until the early part of the twentiethcentury Aboriginal art was mainly made

for use in religious ceremonies. Todaymany Aboriginal artists sell their workto an international market. We decidedto create our own version of traditionalAboriginal ceremonial poles by usingnatural materials to decorate cardboardcylinders. Again we researched librarybooks to examine photos of ceremonialpoles. We noted that feathers, yarnsand paint were beautifully combinedto create striking sculptures.

The students were each given acardboard cylinder. They used an arrayof string, yarn, Raffia, natural Hessianstrips and brown paper to wrap aroundtheir cylinders and secure with PVAglue. They then added feathers andplaited lengths of twine to the cylinders.These were tied on or glued in place.Some students gathered leaves orgum nuts to add to their decorations.All were individual. The final toucheswere painting sections of the poles.Some students painted patterns, suchas animal tracks on to their work. Thebalance the students achieved on theirsculptures impressed me.

Art Activity Three: Figure Sculptures

The students were keen to createsculptures of figures, after they hadcompleted the poles. We examinedthe carved wooden sculptures of theMimi and Tiwi people. Mimi sculpturesare from the region around Katherine,Northern Territory, and have their ownstories. The Tiwi people of BathurstIsland and Melville Island, situated offthe northwest Arnhem Land coast, arefamous for their wood sculptures. Postsare made for the Pukamini ceremony,held for a funeral, and are paintedwith spirit figures and totemic designsrelated to the dead person. Tiwi

sculptors also create figures of people,birds, animals and spirits.

We used plastic bottles, egg cartons,scrunched paper held in place withMasking Tape, cylinders, cones andany other recyclable materials to createthe armature of our figures. Copiousamounts of Masking Tape were usedto hold the figures together so thatthey passed the shake test. We thenused torn pieces of Newsprint andCellogel to papier-mâché the models.The sculptures were then painted inthe style of an Aboriginal artist, suchas Emily Kame Knangwerreye. Somestudents chose to add feathers, raffiaand twine as a head-dress for their work.The final pieces were outstanding.

References

1. Barlow, Alex and Hill, Marji, The ManyForms of Aboriginal Art, Macmillan,Australia, 1997.

2. Barlow, A and Hill, M, A First Look atAboriginal Art, Macmillan, Australia, 1997.

3. Barlow, A and Hill, M, Rock Art,Macmillan, Australia, 1997.

4. Coppock, Lilian, Art of Different Cultures,Belair Publications, Britain, 2000. Pp 25 and63.

5. Finley, Carol, Aboriginal Art of Australia-Exploring Cultural Traditions, LernerPublications, Minneapolis, 1999.

6. Australian Art Pack Faces, Zart Art

Lisa SmithJunior Art Teacher

The Peninsula School, Mt Eliza

Pamela Irving is an artist using bronze,ceramic, mosaic and more recentlyprintmaking. Pamela has been a full timeartist for 22 years in which time she hasparticipated in over a hundred groupexhibitions and held many solo exhibitionsin Australia and overseas. Her works areincluded in Municipal collections,University and School collections as well asRegional Galleries, Artbank and TheMuseum Victoria as well as significantcorporate and private collections. www.pamelairving.com.au

Q: At what age did you decide tomake a career from visual arts?A: When I was studying at MelbourneState College after completing HSC in 1978.I found the lecturers’ own art works soinspiring, but teaching was something tofall back on.

Q: Do you come from a creativefamily?A: Yes, my brother teaches art in Hamiltonand both my parents are artistic. Myfather’s background is in advertising andhe loves making furniture. My mother isalso very creative. They always encouragedJohn and me to make things.

Q: Did you ever teach? If so whereand for how many years?A: I graduated in 1982 and started myMaster’s in 1983. I taught tertiary studentsfor 12 years, 6-9 hours a week in sessionalwork at RMIT, Monash and MelbourneState College.

Q: What is your favourite mediumto work with?A: Mosaics, combined with hand madeclay work.

Q: Do you enjoy working withstudents in your capacity as artist inresidence?A: Yes, particularly the younger students;they make you change the way youapproach things.

Q: What effect has the computerage had on your work? A: The Internet is so important to me as Iwork by myself and I can contact otherartists around the world. E Bay has madea huge difference as I can buy materialsfor my work instead of going aroundOpportunity Shops looking for things I canuse in my work. I use the Internet forresearch and finding out about newmaterials.

Q: What are some of the negativeaspects of your job?A: Being by myself. You need to be a verymotivated person to work by yourself.Financially not very lucrative; for the first10 years I lived with constant uncertaintyof not knowing where or what the next jobwould be. From 1992, after the commissionof Larry in the city square, I have hadongoing work to keep me busy.

Q: What is something you would loveto do that you haven’t already done?A: Design a kids’ playground. It wouldhave wacky big sculptures for the childrento play around.

Q: How would you describe yourfirst solo exhibition?A: Fantastic! It was a sell-out show in 1981,which I shared with my brother John. I wasa 3rd Year student at Melbourne StateCollege.

Q: Where do you get most of yourinspiration?A: Lots of sources: I subscribe to

magazines such as Raw Vision and ArtBrut; the Internet; travelling (I love PacificIsland art work). I also love revisitingPicasso and other artists I studied.

Q: What fellow artist has mostinfluenced you?A: Nek Chand, an Indian guy in his late70s, who has created a 25 acre sculpturepark in Chandigarh near Delhi. I went tovisit him in 1999 and saw this adultplayground.

Q: What’s your favourite piece ofwork to date?A: A ceramic piece I based on Arthur Boyd’sThree Shearers playing for a bride. I wroteto him and asked for his permission toappropriate the work. He sent me an‘aerogram’ giving me that permission. I stillhave the ‘aerogram’ and treasure it as theonly original Arthur Boyd I am likely to own.

Q: What is your favourite piece ofclothing in your wardrobe?A: My Levi’s, I live in my Levi’s.

Q: Who would you most like to sitnext to on a flight to Europe?A: John Maizels, the editor of Raw Vision;he travels the world visiting untrainedartists, and artists who aretrue ‘outsiders’.

Q: If you were speakingto a secondary schoolstudent who wasshowing interest infollowing in yourfootsteps, what advicewould you give them?A: You need to be happy towork by yourself. Cope withthe isolation of being byyourself.- You need basic Businessskills to deal with the likesof the GST which art schooldoesn’t teach you. Artschool is unrelated to thereal world.

- Make stuff you are really happy withand not be market driven as the marketwill catch up with you.- Be open to diversifying. I diversified intoPrints for commercial reasons but also torelieve my back of the heavy-duty workinvolved in my art works.

Pamela is currently making a series ofdoll like mosaic figures for her next soloexhibition "Treading the Boards" beginningat the Shepparton Art Gallery on 10thSeptember 2004— 10th October 2004, and6th November 2004—30th January 2005 atGeelong Art Gallery.

The International Mosaic Conference willbe held at the Australian Catholic Universityin Melbourne, beginning on October 27th2004. www.mosaic-international.com

Pamela Irving will be conducting ahands-on workshop for Zart Art in Term 4,Wednesday October 20th 2004 9.20am -3pm, which will be advertised in the Term 4Zart Extra and on the websitewww.zartart.com


Will I get a job if i do Art? Discover how five creatives have turned art into a career.careers in art

ceramicist/artist pamela irvingPamela is perhaps best known for her irreverent and quirky work such as thepublic commission Larry La Trobe the bronze dog in the City Square.


careers in art cont

When you were little what did youwant to become?I don’t really remember having anyparticular career focus - I just know Iwanted to work with beautiful things.

What did you study at school anduniversity?I was always much more attracted tohumanities subjects at school as Mathswas never my strong subject, but I didn’tstudy Art at secondary school! The focusat high school was more practical, andalthough I loved visiting galleries, I didn’treally have the talent to create. I studiedan arts degree with an honours year atMelbourne University and discovered arthistory, which I really enjoyed learningabout. Then I went on to study a post-graduate curatorship course at MelbourneUni.

What is your role at LauraineDiggins Fine Art?My role is as gallery manager. As it is asmall business, my role is pretty variedand flexible and fits in with whatevertasks are required - from dealing with

clients to writing text for catalogues. Partof my role involves a curatorship aspect,but it is also much broader, involving thedaily running of the gallery in all differentways, such as administration, personalassistant to the director, account keeping, etc.

When and how did you become amanager of a fine art gallery?There are a large number of diversegalleries in Melbourne, from state fundedinstitutions to artist run spaces. Manyoffer volunteer work, which is a good wayto gain some experience and be aware ofpaying positions as opportunities arise.Another good place to gain experience isthe auction houses such as Christies,Sothebys or Deutscher Menzies. Afterstudying and then travelling overseas andseeing lots of art in Europe as abackpacker, I returned to Australia andapplied for an advertised position atLauraine Diggins Fine Art in 2000 and wasthe successful applicant.

What particular skills do you needto have for this job?Organisation skills, research skills, andpeople skills are really important, also agood knowledge of Australian art and ofhandling art works. It is also becomingmore important to have tertiary educationand there are a few art curatorship andmanagement courses.

What does you job entail? (eg.describe a day)A whole range of things - liaising withartists, clients, framers, conservators,freight companies, photographers,printers; preparing valuations for clients

and for institutions; organising pricelists;writing catalogue entries; researchingdetails about an art work; accountingduties; updating our website; attendingart auctions and gallery openings;organising advertising.... I could go on!Some days are extremely busy and youmust work to a tight deadline; and thenothers, such as the day an exhibitionopens, are more about talking with peopleabout the art over a glass of wine withcheese.

What is the best part of your job?The diversity - being a small businessmeans I get to do a bit of everything,which keeps it really interesting. I havealso really enjoyed the opportunity oflearning more about indigenous art andhave found that having greater knowledgeallows a greater appreciation of works byindigenous artists, for example, EmilyKngwarreye and Rover Thomas.

Any career highlights?I have enjoyed travelling to Sydney anumber of times, where Lauraine DigginsFine Art has participated in art fairs. Oneother great aspect is to be able to meetwith artists and talk about their work andvisit their studios. It is also fantastic to besurrounded by high quality art works everyday and to have the time to get a goodclose-up look at paintings by importantAustralian artists that you would usuallyfind in public collections - works by artistssuch as Albert Tucker, Sidney Nolan, ArthurBoyd and Frederick McCubbin.

What are the things you don’tparticularly enjoy about it?

There are times when I am the only personat the gallery during opening hours(except for the gallery dogs), which meansI can’t leave work for nice lunches! Thedirector has two dogs that come to workand like to greet visitors to the gallery -sometimes a little too noisily!

What’s your favourite piece of artwork?Too tricky a question — but one of myfavourites is the Bonnard in the NGV called‘La Siesta’ - it has a real serenity to it.

What book are you reading rightnow?‘Portrait in Sepia’ by Isabel Allende.

What do you do to unwind?I like to read and I like to get away to thecoast and walk on the beach.

What are you going to do after thisinterview?Work on a price-list for art works we areexhibiting at the Sydney Aboriginal andOceanic Art Fair, where there are stands fora number of art galleries and art dealers,and cultural art centres from northernAustralia and around the Pacific. My nextjob is to research about each of the artistswe are exhibiting at the Fair and write ashort biography and prepare informationabout each of the paintings as mostindigenous works have a story such asdepicting a certain area which might begood for finding food, or depicting a bodypaint design linked to a particularceremony or dreaming.

gallery curator ruth lovellRuth works at Lauraine Diggins Fine Art Gallery in North Caulfield, Victoria.

How long have you been in the photographyfield and how did you get there?Kind of by accident. I was between jobs in NewYork thirty-five years ago and met aphotographer. I’d been working in a stock-brokingoffice about seven years previously. He asked meto be his agent so I took the opportunity to hangaround his studio and be his agent; so I kind ofslipped into it. I never planned to be aphotographer.

What schooling/education qualified you forthe positionI have no qualifications. I studied lots of booksand magazines and I employed a really goodassistant.

Do you relate to the people or industry youhave chosen? I never took photographs before I became a photographer. Ididn’t have a camera before I became a photographer. I didenjoy art at school and got a school prize in art. All myenergies went into art classes and doing good art work. It

wasn’t realistic for me to take it any further.

What piece of equipment could you not work without?I can’t live without a camera and I can’t live without adigital camera now. They didn’t exist five years ago. I use amixture of both film and digital. The quality is better outof my Hasselblad, 21/4 film, but clients think it’s cheaperto shoot digital and are not so worried about the quality.It’s not actually cheaper because of the labour involved incolour management. That makes it about the same asshooting film, but at least half my work is digital now.

What is a day in the life of Monty Coles like?Every day is different. On average I work two and a halfdays a week, which is enough to live on anyway. If I amdoing a catalogue, it may be three weeks of shooting.These days I have to do GST and I do my own tax. I shoulddo something about representing myself in a moreprofessional way. I’m working on that right now and that’sthe kind of thing I do on the days I’m not photographing.I’ve got to produce some kind of card in the form of amailer.

Freelance photographer Monty Coles has been producing unforgettable images

for many years now. His name is synonymous with fashion, but his style is

deliberately harder to define. As a creative professional, Monty believes that it

is necessary to be constantly reinventing himself. Consequently, his portfolio

has expanded into lifestyle, portraiture and architectural photography.

photographer monty coles

cont!

How long have you been in theindustrial design field and how didyou get there?Every ID professional says this, but it’strue, “I started my Industrial Designcareer at a young age when I got my firstLego set”. From these dizzy heights, Imoved into model aircraft manufactureand painting/drawing on everythingpossible. I then began to experiment withlarger projects. Finally I found a name forthis need to create objects. A four-yearhonors course in Industrial Designensued in which I worked at SprocketDesign for a year’s work experience. Sincethen I have been working full time atSprocket for about 1.5 years.

Do you relate to the people orindustry you have chosen? The belief is in some situations thatdesigners put themselves on a highersocial pedestal than the masses. Inrelation to design, there has to be sometruth in this statement. After all, it is therole of a designer to shape the daily livesof all of us. I do feel that to be the bestdesigner I can be, it is just as importanthow I relate to non-professionals, as inmany cases the most inspiring thoughtscome from left of centre.

What’s your favorite piece ofclothing in your wardrobe?My second love is music, so probably myJurassic 5 T-shirt (HipHop band). I am T-shirt mad. I have at least 28.

What is a day in the life ofCameron the industrial designer?My days are many and varied, which iswhy I love my job. Working for a smallconsultancy, which both designs andsmall-batch manufactures products,requires me to spend time in manydifferent facets of the design process. Idon’t necessarily love all aspects of myjob, but as a well known Architect,Michael McDonough says, “If you don’tlearn to love the boring, aggravating,and stupid parts of your profession andperform them with diligence and care,you will never succeed.” So in a perfectworld I get to spend my day conceptingnew products, discussing exciting designprojects, learning new processes ordesign techniques, reaching inspiringdesign conclusions, and presentinginnovative and slick graphicpresentations. Conversely, I may have to

raise purchase orders, deal withincompetent manufacturers or spendhours/days/weeks inputting CADdata.

Within your specificemployment, what part do youplay within the firm?I work in the product/kiosk design areaof the company. Sprocket Design is oneof the foremost Information andinteractive kiosk design andmanufacturing companies in Australia.We deal with clients includingMcDonalds, Kodak, Holden, ANZ, etc.,supplying them with interactive touch-

screen kiosks, that allow their customersto access information, completepurchase transactions, refill phone cards,print digital media and a whole host ofother applications.

What’s your best or mostsuccessful piece of work to date? My most successful is a wireless,updateable, advertising screen, whichcan be found in about 3000 post officesand similar stores around Australia. Myfavorite is my current project, a deskmounted kiosk for downloading,selecting and ordering digital prints fromyour digital camera

What inspires an industrialdesigner? Everything inspires a good designer, andnothing inspires a bad one. The commonthread amongst all designers is theirneed to explore and create environmentsfor future exploration. More specificinspiration, like in life, does howevercome from the individual’s ownenvironment. That is why I believe theonly way to better yourself as a designeris to travel, and indoing so broadenyour culturalknowledge andexpand yourhorizons.

Are there peersin yourindustry thatset abenchmark? There are designersand there aredesign firms thathave and continueto set thebenchmark fordesign moving intothe 21st century. Themost recognizableis Apple and their head of industrialdesign Johnethan Ive. As with all topdesign worldwide, it takes risks to reachthese amazing outcomes. Apple’s candy -coloured translucent Imac’s were a riskthat paid off with an instantlyrecognizable brand and a cult status.

Was your tertiary educationdemanding on you? Industrial Design, at tertiary level, is

extremely demanding. As there are so fewplaces, competition is hot from the start.The course format is unique to the designfields, and features many practical basedsubjects, few exams and numerousvisual/oral presentations. There is alwaystime to socialize! Design is the socialinteraction of people and products.

Who would you most like to sitnext to on a flight to Europe?Probably my late uncle. He was anArchitect/Artist and always showed agreat interest in my artistic endeavorsfrom a young age. I’d love to have thechance to show him where I am now.

What are some of the negativeaspects of your job?It is not the most well-paid job. It isextremely competitive.

If you were speaking to asecondary school student who wasshowing interest in following inyour footsteps, what advice wouldyou give them?First of all I would say - write down allthe things you’re interested in and getyourself along to a University Open Day.Organize your work experience at adesign consultancy. Look at doing someart/design based extra-curricularactivities. Go to design exhibitions,furniture shows (Melbourne Museum, ArtGallery, etc)

Finally, to get into a tertiary ID course,you will need to present a portfolio (youshould start thinking about this fromabout year 11 onwards). This can be anyartistic/design work you may have donefor school or personal projects. It is,however, an Industrial Design course, so

projects thatshow some IDskills are great.

careers in art cont


Monty cont:What’s your best or most successfulpiece of work to date? There is a piece at Collins Placecurrently up for a year. It is a high techform of graffiti.

What inspires a photographer? I like the work of Man Ray of the 20s,30s, 40s and 50s - mainly because hewas very experimental: he just playedthe whole time. Most of my career Ihave just played with photography.Most of my images are not really finallydefinitive like perfect images; just notesthat I enjoy about it; before I make itreally perfect, I go on to something else.It’s not strong enough for me to say‘that is a perfect image’.

Do you have any regrets with yourcareer path? I am perfectly happy. I could have, if Iwas a different type of person, taken ormade more use of the opportunities I’vebeen lucky enough to be exposed to.But I haven’t, as other things havehappened instead. Contemporaries ofmine may be better off financially butother things perhaps have sufferedbecause of that. It doesn’t mean youcan’t have both. Chances of workingand having everything, are prettyremote these days.

Who would you most like to sitnext to on a flight to Europe?The Dalai Lama - I was meant to do anofficial portrait of him. However, hewas suffering from a cold the last timehe was here. That would have been ahighlight of my career if I could havephotographed him on a one to onething.

What are some of the negativeaspects of your job?I wish digital cameras and computershad never been invented.

What do you aim to achieve withinyour industry?Apart from making a living for myfamily, and myself, I would like to havean exhibition - just to put myself on theline. I am very critical of photography,photographers, and artists taking upspace. Just for once, to put some stuffon the wall and stand back and seehow I would criticize my own work if itis up there - to be criticized and see if Ican amuse some people by doing that.Like Man Ray would have done if hewas alive right now.

If you were speaking to a secondaryschool student who was showinginterest in following in yourfootsteps, what advice would yougive them?Go and see Austin Power movies. AustinPower was based on a 60sphotographer. I was like that. I had avelvet jacket, the scarf and girls all overthe place, which was great. There werepeople like that. There was a movieAustin Power would have seen called‘Blow Up’ with David Hemmings as afashion photographer in the mid 60s.That was an influence on allphotographers in those days. I wasn’t aphotographer at that stage.

Get a job with a photographer; hangaround the studio and learn as fast asyou can. I am not crazy about spendingtoo long a time in Photography College- they drag things out too long. Workas an assistant.

industrial designer cameron brodieCameron is a graduate from Swinburne University & joined the team at

Sprocket Design 11/2 years ago.

Thetechniques I userange fromdyeing fabric tofree machineembroidery. I amvery interestedin the concept

of complex cloth, where manylayers are added to the cloth to produce the effectthat I want. These techniques could include: dyeing,printing, painting and stitching. I also make felt anduse paper in my work. I employ collage techniquesand then stitch these to create line. Some of mywork is also on display on a websitewww.intertwined9.org

Q: How long have you been in the textile fieldand how did you get there?I have been interested in textiles since I was a child. I did alot of sewing and knitting during my teens. My firstcommission was a Macramé Wall Hanging in High School.I took up silk painting and made many silk scarves. Ifound that I wanted to explore textiles in a moreexperimental way. I did a workshop in colour and designwith Sharon Muir at The Meat Market Craft Centre; thisopened my eyes to the wider world of textiles as I wasintroduced to the magazine Textile Fibre Forum.

Q: What schooling qualified you for theposition?I did a Diploma of Studio Stitch at Box Hill TAFE, but a lotof my education has been through Textile Fibre Forumsdoing one-week workshops once or twice a year. I havedone 9 Forums.

Q: Do you feel that your choice of schooling wasan appropriate route for your career path? I didn’t do Art from Year 10 as I did not paint or draw.Textiles was not considered as Art; it was seen as a craft,so it was not an option. My interest in drawing camemuch later. Textiles as art has become much more crediblein the last 15—20 years.

Q: What is a day in the life of Sally the Artist/Lecturer?Every day is totally different as I have work in three

different places as well as studying. I wake early and walkto keep fit. I start the week by going to my Drawing class.The next day I am at home, I try to do my art work as wellas being a parent and home manager. The next three daysare spent teaching art. I teach primary art one day, I teachprimary teacher trainees about the importance of the artson another and I teach textile art at TAFE on the third day.In between I fit in my own art. This is often done at night.I have commissions to work on, exhibitions I am workingtowards as well as pieces I am creating from the drawingclass I go to. I also need to spend time on the computereither checking or sending emails, or doing the associatedpaperwork for each of the jobs I do.

Q: What’s your best or most successful piece ofwork to date? Possibly a 3D piece of a bridge that was also a book madefrom fabric, called the Book of Knowledge. It is about howbooks bridge the gap between the known and unknown. Itis all textiles with no words; it is really more complex -colour, pattern and design within that piece starting atone side and going to the other.

Q: What inspires a textile artist? Textile artists are inspired by many different things - whatthey see, the landscape, etc. For me, I am inspired by theworld around me and how I respond to that. I also use myart to express some of my ideas about the complexity ofhuman nature.

Q: What are some of the negative aspects of yourjob?Time, or lack of it, is the main negative aspect of all mywork. I would love to spend longer blocks of time on myown art which is why I love the luxury of going to FibreForums.

Q: What do you aim to achieve within yourindustry?I think in all my work, to help people understand theimportance of creativity and acknowledge creativity assomething we all have. As a teacher, to give people theopportunity to gain confidence in their ability to create. Asan artist, it is to express my view of the world in adifferent way and to become the best I can be at that; toextend my skills in search for original ways of expression.

Q: If you were speaking to a secondary schoolstudent who was showing interest in following

in your footsteps, what advice would you givethem?I would advise them to make themselves aware of themany different forms that Textile Art takes, as it is verybroad. It is a very exciting form of art because it has somany options.

I would advise them to read Fibre Forum magazines andother Fibre Art magazines. To go to Fibre Forums, to lookat exhibitions and become more aware of what it is theyare interested in particularly.

To look at all the different courses, as they each have adifferent slant, from screen-printing through to tapestry-weaving, through to embroidery.

Spend time finding a mentor because you can learn somuch from someone working in that area; how they workand how they develop as artists as well.


careers in art cont

textile artist sally darlisonSally is a working artist who also teaches and shares her love for textiles.

final tips from the experts...A folio of work. As part of the entrance requirements for art and design

courses, students must present a folio of work. Make sure your folio

demonstrates skills that are needed for that course / profession (you may need to

adjust your folio according to the course). Remember, only put in your best

pieces, include concept development work, and presentation is the key.

Meet and greet: Meet industry professionals by; becoming involved in work

experience programs, make an appointment to visit a design firm, creative agency

or a local artist. Attend university and TAFE open days and graduate exhibitions so

that you are familiar with the field you will be entering.

profile


The Bendigo Easter FairCommittee’s traditional Easter Paradeis held annually on Easter Monday inBendigo. This year local primaryschools were asked to make babydragons to compliment the hugeChinese display, which accompaniesthe procession. Bendigo has thehonour of having, at the GoldenDragon museum, Sun Loong: thelongest Imperial dragon in thesouthern hemisphere. He appears inthe streets of Bendigo each Easteraccompanied by a huge number ofcolourful banners which announcehis arrival. There are thousands ofexploding crackers to keep Sun Loongawake, as well as athletic southernlions to entertain the crowd, drumcarts, girls dressed in traditionalcostume, and several smaller dragons- Ya Loong the night dragon, MingLoong a male dragon, Ping Loong afemale dragon, and Gansu Loong, agift from Bendigo’s sister city -they’re all there. The Chinese sectionis a wonderful feature of the parade;it is noisy, full of vibrant colour andflashing mirrors (which are on SunLoong’s 30 metre long body). Themirrors, apart from catching thesunlight, sparkle and shimmer,keeping evil spirits away from thedragon.

cont!

17excited childrenpresented theirdragons to the

wider school community...they were very proud oftheir achievement.

BAB YASIANDRAGO NS

Kangaroo Flat Primary School, Bendigo

ARTS CRITICISM AND AESTHETICS

Our school decided to take part in the BabyDragon project as part of our Wednesdayafternoon K-Day program, whichfocuses on kinaestheticactivities for children fromgrade 3 to 6. Seventeen

children started the project byreflecting on the significance and use ofdragons in Asian culture, especially China. Theyused books, photos, clothing andfigurines acquired during a staff member’sstudy tour to China. Ralph Beh, the education officerfrom the Golden Dragon museum, wasinvited to speak to the children, andfurther illustrated through aseries of slides the history of theChinese in Bendigo, theimportance of various coloursused, and the distinguishingfeatures of different types ofdragons.

ART SKILLS, TECHNIQUES AND PROCESSES

The first task for the children was to design theirdragon, then using an empty 2 litre plastic container,two aluminium cans, some empty overlocker threadspools, a piece of sturdy cardboard cylinder, twoaluminium pie plates, a second piece of sturdycardboard, newspaper and masking tape, theyfashioned the dragon’s head and back. The plastic

container became the base for the head, slots were cutand the cans inserted for eye bases and the cardboardcylinder was inserted for a handle. The foil plates weresecured on to the head forming the mouth, and thespools became small horns. All the construction wassecured with Masking Tape. Tightly rolled balls ofnewspaper were attached with Masking Tape to pad

out the dragon’s face to give it a nose, chin, cheeks, aplace for a mirror, and padding where the child felt itwas needed. Step two was to wrap the entire head

and cardboard back plate in tin foil, adding longerhorns if required. Step three saw the childrencovering the head and back plate with one layer

of papier-mâché consisting oftissue paper and P.V.A. Once drythe heads were light and verystrong.

The children then decided onthe colours to paint their dragons. They reflected on thetalk with Ralph Beh who told them that pink indicatesyouth, red is for happiness, green means growing, bluerepresents the sky and water, yellow/gold denotesroyalty as does purple, whereas black is used forstrength. The dragon-head back plate and free flowingtail (made from Tyvek) were painted with Vipondsacrylic paint. The children then assembled all thedecorations for their dragons: old Christmasdecorations, Tinsel, Sequins, Honeycomb, Tinsel Stems,silver, gold and red bead chain, Mini Patty Pans, GoldDoylies, CD cases, Pom-Poms, Polystyrene Balls, featherboas, Chinese papers and Glass Jewels, were glued on

to the dragon headsusing Glue Guns andTacky Glue. The freeflowing tails werefringed and smallpieces of shinycontact wereadded to givethe


If you find a cheaper published pricein another current catalogue on anequivalent product, simply contact usby phone or by email and we willmatch the price.

See our Term 3 SSppeecciiaallssflyer for great bargains.

Zart’s PriceMatchingPolicy...

Remember

Jenny CampbellKangaroo Flat Primary School

profile cont

appearance of mirrors.

RESPONDING TO THE ARTSThe total class time for completing this

project was 9 one-hour sessions, plus manylunch times. At the completion of the project,the seventeen very excited children presentedtheir dragons to the wider school communityat the final school assembly for term 1. Thechildren were very pleased with the commentsfrom their peers and parents. The culminationof the project saw the children wearing T-shirtsin the You Can Do It colours of red, green, blue,purple and yellow when they participated inthe Easter parade with their dragons: they werevery nervous and very proud of theirachievement. Our flight of Baby Dragons wasvery well received by the crowd, which linedthe route through the streets of Bendigo. Onespecial highlight for the children was to standwith Sun Loong and have their photo taken.

60 Corrugated cardboard stripseach 12 mm wide and 53 mm longin bright colours to use in constructionand collage activities. Manipulate the stripsto create a 3D collage.

Pkt of 60 . . . . . . . . .$7.50 $8.25

new products


RAINBOW TISSUECool or warm colours; this fine tissue ona roll is ideal for creating interestingbackgrounds to work on with paint orprint. Manipulate the paper to createtextured backgrounds in cool or warmbands of colour. 60 cm x 25 metrePlease specify Cool or WarmRoll . . . . . . . . . .$10.72 $11.79

A4 Brightly colouredcorrugated board in wave-likeripples that will bringinteresting texture into yourcollages. Use for card-making,scrap-booking and displaywork. Assorted colours

Pkt of 10s . . .$10.70 .$11.77

A4 MESH TISSUE PAPERA decorative paper with adifference. Use for collage andeven try printing on to it. Bands ofcolour appear to merge into eachother on a paper honeycomb.Assorted packets of 40 sheets in 5assorted coloursPkt of 40 . . .$11.95 $13.15

Blue, Green or Red striped paper on a roll. Ideal fordisplay and collage, sturdy textured surface. This paperwill give you an instant background to collage on, oruse as a stunning backdrop for classroom displays.80 cm x 10 metre Blue, green or red. Please specify colour.

Roll . . . . . . . . . . . . . . . . . $15.84 $17.42

stripesdisplay paper

A4 FLUORO TISSUECreate zany works of art with this very brighttissue paper in 4 fluorescent colours. Pkt of 40 . . . . . . . . . . . .$3.96 $4.36

PAPERParadise!

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CORRUGATEDWAVE CARD

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activities

Festival of Trees

Zart PaperMagiclay

The modelling clay that dries like paper

Mould Stretch Colour Decorate

Zart Paper Magiclay is a lightweight, soft and elasticmodelling compound. Paper Magiclay air dries in hoursresembling a paper like texture when dry. PaperMagiclay will bond wet to dry, no adhesives, joiningtechniques or tools are required.It can be pulled, stretched, sprung back, rolled, shaped,cut, stamped, pressed to suit a variety of art orsculpture projects. To colour prior to modelling,

simply knead in a dab of paint (water based), FoodDye or marker pen or decorate when dry.Zart Paper Magiclay makes modelling easy, with noresidue left on your hands or tools. Unused portionscan be carefully wrapped/sealed and used again. It'svery soft and light consistency makes it attractive tochildren. When dry it becomes very strong yetmaintains its featherweight qualities.

Would you like to participate in this year’sFestival of Trees for Save The Children?The Designer Christmas Tree Competition is on once again and Bang

and Olufsen are donating this year's major prize.

Trees can be made using any materials and themed accordingly as all

tree designers are encouraged to use their imagination and create

their own unique design.

Last year's Festival of Trees displayed designs from all types of people

and organisations. Some of the more inspiring concepts were created

by using hundreds of soft-drink cans, a tree made of glass and Zart

Art's leggy number! (pictured)

All tree designs must be confirmed by 15th October 2004 and be

ready for display by 3rd—23rd December at Federation Square.

The tree may then be auctioned to raise funds or returned to the

designers.

If you have a design or concept youwould like to present, please

contact Sophie Wyett at

Save the Children Victoria.

Phone 03 9882-5211

or [email protected]

200g pkt . . . . . . . . . . $9.15 $10.07

NEW!


Window a wordless picture book(exploring the concept of changeover time) won the Australianchildren's picture book of the YearAward in 1992 … Now there is acompanion book, new wordlesspicture book, Belonging.

Belonging explores the re-greeningof the city: the role of community,the empowerment of people andthe significance of children, family

and neighbourhood in changingtheir urban environment. Theapproach is an optimistic one,offering people who live in citiesinspiration to initiate change byconnecting with their communityand the beauty of living things.

This community then has become ahome not just to people but to thelarger community of life.

The view from these windows is aparticular view of the changingrelationship between an Australiancity, a community and its plantsand wildlife. But it could representany city and any community in anypart of the world.

The national travelling exhibitionBelonging, will be presented from 25June—7 September 2004 at theRoyal Botanic Gardens Melbourne.

Open to the public Wednesday toSunday from 10am to 4pm, $2 entry.

Domain House, Dallas Brooks Drive,SouthYarra. (Melway Reference: 2LA1)

Bus parking on Birdwood avenue.

For further information about theexhibition call 03 9252 2300 or visitwww.rbg.vic.gov.au

Zart Education Service are offeringa PD workshop incorporatingnatural material collage entitledFairy Stylish (level 1-6)

Wednesday 1st September2004. 9.20am—3.00pm Cost:$85.00 Consultant: AnnBidstrup For further information aboutthe workshop call ZES on 039890 1867

Belonging by Jeannie Baker25 June — 7 September 2004

1. Zart Paper Magiclaymay be used to buildup areas onto a 2Dsurface, creatingtexture and form.Rolling tiny balls of thePaper Magiclay to formcoral, or draping thePaper Magiclay to looklike flowing seaweedmay create anunderwater reef. ThePaper Magiclay mayalso be shaped intocones or pulled andallowed to spring backto form kelp like strips.

2. Press beads into the

clay for detailsas well as wiresor take an imprint offabric or netting for aninteresting effect. ThePaper Magiclay may bebuilt up in areas togive dimension.

3. When dry the PaperMagiclay may bepainted to createcolour. Any waterbasedpaint will adhere aseasily as painting onpaper. Pearl paint alsoenhances theunderwater effect.

1. Take a small amount of the Zart PaperMagiclay and add a small drop of paint toknead through the clay to colour it.

2. Shape petals by pushing the PaperMagiclay with your thumb or fingers,thinly onto a table top or hardsurface until you get very thin petalshapes. Allow to sit andstiffen for a few minutes.

3. Start with a small budin the centre and buildup the petals in acircular fashionaround the centralbud, shaping thepetals to open out, asthe flower gets larger.

4. When you reach the desiredsize, allow to dry. You will have abeautiful and delicate hand created flowerwith paper thin petals, these can even bescented with a few drops of essential oil.

FlowersUnderwaterScene

Textured backgroundZart Paper Magiclay may be used tobuild a 2D surface, creating textureand movement.

1. Stretch out the Paper Magiclay sothat it’s ribbon like.

2. Whilst still wet, press directlyonto canvas, this enables it toadhere.

3. Paper Magiclay may be colouredprior to modelling or painted whendry.

4. Muslin and Tissue Paper havealso been added in this example tomake the textured backgroundseamless.

5. Gouache was used to colour thebackgound and the Paper Magiclay.

6. For this example we have chosento use both pre coloured and whitePaper Magiclay.

Turn a lifeless 2D intoan image that jumps out

from the canvas!

Zart Paper Magiclay makescreating a 3D form coming out from

a 2D background so managable, atany level. The 3D form will adhere

directly onto the surface - no glues, andit’s lightweight - no armatures required!

Just create the form, and press it directlyonto the Canvas Board. Leave to set, then

decorate.

1. Here we have used Paper Magiclay to createa runner sprinting out from the canvas.(Some Armature Wire was used to helpconstruct the runner’s leg.)

2. When dry, both the runner and the trackwere painted with acrylic paint.

Easy!

Turn

2D into 3D

activities cont

exhibition

COLOURMaking and Using Dyesand PigmentsColour is all around us; we take it for

granted as a naturally occurring

element of all things. Yet colours are

also manufactured, and the science

of pigments, hues and dyes has an

ancient and fascinating history. This

book tells the story of dyes and

pigments, the invention of new

colours and the industries that were

fuelled by them. What were the

colours of ancient Egypt? What did

its artists use to paint their

magnificent frescoes? Where do

indigo and ochre come from?

159pp . . . .$13.59 $14.95

MANGA MADNESSDavid OkumDraw awesome characters and scenes, capture

the excitement of Manga in your drawings. This

book includes hundreds of dynamic

illustrations, loaded with detail, and over 400

step-by-step lessons. You will learn the skills

and tips you need to create amazing

characters and scenes. It covers drawing

basics such as perspective, shading, and

foreshortening, Japanese terms, traditions and

character types, as well as quick tips for

having fun and improving your work.

128pp . . . . . . . $27.23 $29.95

PUPPET MANIAJohn KennedyThis book will springboard your

imagination into the wonderful world

of puppet making. It will guide you

through each project with straight-

forward instructions using easy to

find materials. John Kennedy teaches

you how to bring your creations to

life, each character taking on its own

personality through lip-synching,

body movement, eye contact and

your imagination.

80pp . . . . .$22.68 $24.95

New Resources


new resources

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SEURATand La Grande JatteRobert Burleigh bk064Along with studies, details and

reproductions of A Sunday on La

Grande Jatte 1884, as well as other

compositions by Seurat, Robert

Burleigh’s playful yet inquisitive text

brings to life the story of Seurat and

his desire to create “a kind of painting

that was [his] own”.

31pp . . . . .$36.34 $40.00

ANDY WARHOL 365 TAKES Andy Warhol remains one of the most

intriguing figures of our times, an icon

whose work transformed the landscape of

contemporary art, and prefigured our

obsessions with celebrity and consumerism.

For this book, the Andy Warhol Museum has

gathered the highlights of its collection to

create a volume that is as compelling and

idiosyncratic as Warhol himself.

743pp . .$68.18 $75.00

ARTEXPRESS 2003This catalogue of 2003 graduates represents

students from both government and non-

government schools across NSW. The

exhibition itself has grown enormously over

the 21 years since its inception. Over the years,

the syllabus & the expressive forms available

to students have changed emphasis, with

newer forms such as digital media and

interactive works represented. What has not

changed is the representative nature of

ARTEXPRESS, its high quality and the daunting

range and depth of students’ ideas and

interests that are portrayed in their art work.

124pp . . . . . . . $31.82 $35.00

This comprehensive cultural historyis both visually spectacular andthought provoking. A universal art ofexpression and transformation,masks reveal a great deal about thepeople who make them and thecultures that use them.Accompanying the photographs areessays tracing the functions ofmasks throughout history, writtenby scholars in the fields of arthistory, anthropology, decorativearts and design, and theatre.

344 pp . . .$121.82 134.00

MASKS Faces ofCulture

This pack of 12 fine

art prints contains

works by well known Australian Artists.

The works have been selected from major

galleries around the country.

The 12 art works have been selected to

show the historical development of this

country, through the eyes of Australian

artists. Teacher’s notes on the reverse

side include information on the work, the

artist and the times along with activities

and starting points for students. Suitable

for both primary and secondary levels.

Set . . . . . . . . . $55.00 $60.50

AustralianArt pack

1788—21st Century

Landscapes

Book Spotlight:

george raper george french angas

eugene von guerard clara southern

roland wakelin russell drysdale

albert namatjira fred williams

henri bastin lorna chick

william robinson jack britten

CERAMICS FOR KIDSMary EllisPinch, coil, slab and mould clay into

these creative projects, that will

show you some easy ways to make

ceramics without a wheel. This book

will show you how to glaze and

decorate your designs – a book that

is suitable for beginners in clay.

144pp ........$18.14 $19.95


Zart’s Student GalleryWhat’s on and featuring inour Gallery for Term 42004.

cover +


contents

Profile: AssessmentHawthorn WestPrimary School &Box Hill High Schoolpa

ge 4

page

7

Secondary Article:VET programmeVET Cert III ConceptDevelopment of Clothingpa

ge 8 New Products

Printmaking to textiles!Great secondary productspa

ge 9

Primary Article:Felt MasksBeverley Hills PrimarySchoolpa

ge 3









KLA’s group.











Zart EducationService.

ISSN 1448—8450

Zart Art Term four: with the celebration of the2004 Athens Olympic Games now at a close, wethank those who joined in our Zart olympic PDprogram. We hope to bring you another greatpeople in action series in time for the 2006commonwealth games!The winners of Book Week 2004 have beenannounced. winners are ...Best Picture Book:Cat & Fish (Lothian Books) written by JoanGrant & illustrated by Neil Curtis; Best EarlyChildhood Book: Grandpa and Thomas (penguinBooks Aust.) by Pamela Allen. The 2005 BookWeek theme will be announced in December.Our Christmas pd program is currentlyrunning. Alongside traditional christmasactivities, discover the exotic customs, artand crafts of asia. the Christmas PDworkshops and the christmas in asia book,are both filled with wonderful activitiesinspired by the colourful region of asia.We are now taking bookings for our Back toBasics program in 2005. Please refer to yourterm 4 workshop insert or our website forup-to-date workshop details :www.zartart.com.au The Zart Art 2005 catalogue will be out inNovember - expect to see our back to schoolspecials and plenty of new products andresources in this user friendly catalogue!remember... place your order in November orDecember 2004 for immediate dispatch, or,request it to be held until Term 1 2005. Adeferred payment scheme is also available forall back to school orders. Place your orderin December and pay in February. Enquiriesplease call 03 9890 1867

Merry Christmas and safe holidays!

page

10

Activity: A pencil explorationExplore the versatility ofthis often overlookedmedium.

New Resourcespa

ge 12

In this era of accountability, thecollating of diagnosticinformation in the classroom, theassessing of learning outcomes inindividual pieces of work and thelaborious task of report writinghave become such a precisiondriven and time consumingaspect of a teacher's life. Indeed,the whole notion of assessmenthas become very stressful to mostteachers and yet without someform of feedback to students andtheir parents, the student's toil isnot given the respect andrecognition it deserves.

Assessing a piece of art work canbe as challenging as assessing, forexample, poetry - the teacher isbeing given not just an individualresponse to the skills taught, butalso a personal response to thesubject matter. To what extentcan the personal response beignored? Do we have a right tocomment on someone else'spersonal response? Should wefocus only on the skills? Thesesorts of questions must continueto be revisited.

There is arguably no right orwrong answer to many aspects ofassessment. How the schooladministers its assessmentpolicies and reports about studentachievement to parents are stillpart of the school based decision-making process, which takes placewithin the set guidelines.However, what has happened inrecent years has been thedevelopment of some verycreative and effective assessmentprocedures. Technology hasallowed teachers to provide visualevidence for their comments onachievement levels, which for thevisual arts has been a godsend.

As we are now in term IV andtherefore in a report writing term,we have asked two schools - oneprimary and one secondary - toshow you how they give theirstudents and parents feedback(see Profiles, pages 4-6) We hopeto continue this sampling in ourterm II, 2005 Zart newsletter.


Assessment

primary article


FeltMasks

Lyn FerrallVisual Arts Co ordinator

Beverley Hills Primary School

When planning this

activity for my Year 6 children,

I wanted to take the children's

felt-making to another level.

While I was keen to give the

children experience with the technique

of making felt, I also wanted to give

them a creative opportunity to apply

their visual arts skills to the completed

piece of felt.

Earlier in the term, we had spent

some time looking at Andy Warhol's

work with famous faces, his work with

colour, its balance and contrasts and his

use of pattern, texture and line.

As a result, we decided to make our

pieces of felt with the thought in mind

that the finished piece would be a

canvas for a mask.

Making the felt

Children chose their wool-top

colours with their finished mask in

mind. Although we had done some

design and drawing work, I was careful

to emphasize that the piece would

evolve and the initial design would

serve as a guide only.

After making the felt piece from

Merino Wool-Tops - there are many

books on the subject and Zart Art has

excellent notes - we proceeded to add

to our mask form.

Forming the mask shape

We used plastic mask forms and

added scrunched and rolled paper and

card with plastic (packaging) tape to

alter the size, shape and features of the

original form. This was rested on a

large piece of plastic.

First we tried out our piece of felt

on the altered mask form. How did it

drape best, which side should we use,

will the piece be big enough to crease

and fold, will we push holes through

for our eyes, mouth?

We made a solution of PVA and

water (about half and half) and

saturated our felt piece by dipping it

into the container. Leaving the piece

quite wet, we draped it over the mask

form and had fun arranging, re-

arranging, creasing, folding and finally

leaving the wet piece to dry.

Decorating

I made a large collection of

materials available for decoration.

We had looked at several books and

posters and decided that we wanted a

'natural' look for our masks as opposed

to a 'glitzy' look with lots of sequins

and glitter.

We 'felt' that raffia, string, wool,

more wool-tops, buttons, feathers,

chenille stems, threads would make the

most suitable decorative materials.

I was diligent in addressing the

possible applications of each of the

materials offered.

We discussed how we had used each

in the past, its suitability to this

application, the different ways it could

be used, most suitable ways to adhere it

to the mask, etc.

The children are used to using two

or more decorative materials together,

for example, a felt shape behind a

painted half polyball, attached with

small pieces of feather for an eye. They

are used to sharing ideas and offering

advice to each other on the choice of

colour, material, suitable glue, etc.

They have been encouraged to

continually assess their work in

progress and know when to stop rather

than to continue to add decoration for

decoration's sake. Conversely, they are

encouraged to assess their work in

progress and ask 'what more can I do?'

This activity was a great success

with my Year 6 children. We worked

for six weeks to make the felt and

complete the mask. At the end of the

project the children voiced a great

sense of satisfaction with their work.

They had excelled in their creative use

of a wide variety of materials; they had

been encouraged to think about their

choices of colour, their use of pattern

and texture, and their mix of

contrasting and complementary colour

to make a dynamic statement.

BeverleyHills

PrimarySchool

A selection of masks are on display at Zart’s Student Gallery this term.


profile article

Assessment in SchoolsA sample from primary & secondary schools

Hawthorn West Primary School has

introduced Portfolios as a way of

communicating children's learning to

parents. This change in our assessment and

reporting format was designed to present

the children's achievements in a more

meaningful and effective manner.

Portfolios have become part of a sequential

reporting process in the school providing a

link between the teaching and learning

process in the classroom and across all

specialist programs.

They contain samples of work, which

represent the CSF level that each child is

working towards. Some of these are

assessment tasks and are designed by the

teacher whilst others are selected by the

students.

Every term a piece of art work is selected to

be included in the children's portfolio. The

activities are based upon the Integrated Unit

of work being studied at each CSF level.

For example, the preps combined paper

cutting and folding skills with wool

threading to make a doll for their unit on

'All about Me.' A focus statement and task

description is provided for each activity

along with specific visual arts skills being

taught at that level.

The art work included in the children's

portfolios is not always photographed nor is

it necessarily the final product. A piece of

'thinking paper' with ideas, drafts and

designs, which show the processes being

used, may be the selected piece.

The children are encouraged to be actively

involved in evaluating and reflecting upon

their art work. This may be colouring in a

happy or sad smiley face or completing a

written self-assessment. In the upper grades

the children are responsible for presenting

and photographing their own work and also

assist with organising the junior grades.

Over the course of the year each child's

portfolio should contain samples of work,

which reflect their understanding and

development of visual arts elements, skills,

techniques and processes as well as their

response to other visual art works.

Portfolios have been very well received by

the parent community and have provided a

forum for discussion about children's

understandings and learning styles.

ART Assessment Task: Myself

CSF Level 1

Focus: The focus of this term was for the children to engage in

activities that would lead them to exploring their imaginations,

expressing their feelings and enjoying creating and making.

Task: The purpose of this activity was for the children to make a

picture of themselves at school using several different processes

and materials. Pastels were used to draw the facial features on a

paper plate with wool pieces threaded through holes for the hair.

They then cut out a body from a template and added arms and

legs using paper-folding skills.

Prior to this activity the children were given opportunities to study

facial features and expressions by looking at a range of photos and

pictures. They experimented with pens and pastels, making lots of

'marks' and discovering a variety of lines and shapes.

Visual Art Skills:

Explored ways of using the materials to create a face

Used scissors well to cut out the clothing template

Folded paper strips to make arms and legs

Attitudes & Effort: S-sometimes U-usually C-consistently

Enjoys experimenting with new techniques and materials

Participates enthusiastically throughout the activity

Required additional assistance to complete the activity

Shared and discussed their art work with others

Brie

f &

Cri

teri

a

PRIMARY ASSESSMENT: PORTFOLIO ASSESSMENT. HAWTHORN WEST PRIMARY SCHOOL

Michele Freeland-SmallArt Teacher

Hawthorn West Primary School

Assessment Task: Puppet Characters

CSF Level 2

Focus: The focus of this term was to help the children understand that

visual art works can be two-dimensional and three-dimensional and

that each area has particular tools, media and techniques to be learnt.

Task: The purpose of this activity was for the children to create a hand

puppet to be used later in role-play situations. First they applied

papier-mache over scrunched newspaper to make the head. They

explored different ways of dyeing and decorating fabric to make

suitable clothing. The facial features were painted on and a range of

fibres and wools were used for the hair.

Visual Art Skills:

Joined scrunched newspaper and a cardboard cylinder with

masking tape

Applied torn newspaper dipped in wallpaper paste to form the

papier-mache head

Chose appropriate colours and materials to decorate the puppet

head

Used a range of fabric dyeing techniques to decorate the puppets

costume

Attitudes and Effort: S-sometimes U-usually C-consistently

Enjoys experimenting with new techniques and media

Manipulates a variety of materials to create desired effects

Enthusiastically engages in the activity

Requires further assistance throughout this activity.

Brie

f &

Cri

teri

a

profile article cont


Assessment Task: We are Australian

CSF Level 4

Focus: This term the children experimented with ideas in making and

presenting their art work. They looked at distinguishing features of art

works that located them in a particular time, place and culture.

Task: Following a visit to the NGV where the children saw art works by

various Australian artists, we studied the painting "Old Stables" by

Frederick McCubbin. Using either terracotta clay or cardboard they

replicated the style of early Australian bush huts. Slabs were the basis

of their construction regardless of the materials they chose. This

project took three weeks to complete.

Visual Art Skills:

Used correct joining techniques with slabs of clay

Showed decorative techniques of incising and addition

Used strong joins with the cardboard huts

Applied a range of materials to decorate their construction

Work Habits:

Participated enthusiastically throughout the activity

Needed to be kept on task in order to complete the project

Shared ideas and works collaboratively with othersBr

ief

& C

rite

riaART Assessment Task: Marvellous Machines.

CSF Level 3

Focus: The focus of this term was for the children to experiment with

the elements of art and use them to express their ideas and

understandings in a visual way.

Task: The purpose of this activity was for the children to explore a

range of construction skills and materials and create an imaginary

machine.

The design stage involved looking at pictures, discussing ideas and

making preliminary drawings. The children then embarked on a four-

week project to build their creation.

This involved manipulating different types of wood, cardboard and

wire, then adding a range of additional materials for decoration.

Cutting and joining techniques were a major part of the process. Safety

procedures in handling tools such as coping saws and glue guns were

also of great importance.

Visual Art Skills:

Showed initiative in the design process

Skilfully used appropriate joining methods

Selected colours and decorative materials to complement their

artwork

Attitudes & Effort: S-sometimes U-usually C-consistently

Enjoyed experimenting with new techniques, materials and

processes

Used tools safely

Participated enthusiastically throughout the activity

Brie

f &

Cri

teri

a

Year 7 Visual Communication and

Design is a compulsory term class.

The course introduces students to

instrumental drawing, creative

problem solving, designing for a

designated audience and utilizing

a design process.

Grading of submissions takes a

format based upon the criteria

specified in the exercise and

discussed and demonstrated in

class.

For example, Instrumental Lines

exercise: lines at 30,, 45,, 60,,

vertical, horizontal, compass

concentric circles and eccentric

circles are each graded for:

control of specified length, angle,

spacing and placement, and are

finished in fineliner. Title to the

page demonstrates controlled

letterform for spacing, height,

legibility, incorporation of a

creative style, and neat

presentation in colour. The page

is judged for its balance, its

fulfillment of presentation

requirements, such as adherence

to guidelines and subtlety, and

includes name and labels.

Other grading requirements may

include unique solution, technical

control of media, suitability for

identified audience, creative use

of design process, and ideas

generation. Each of these are

graded out of 2 to 5 points and an

exercise might total 30-60. The

method 'levels the playing field'

between students who are

technically adept, those who are

ideas

people, those

who are creative but 'messy'.


profile article cont

Visit us onlinewww.zartart.com.au

Zart Art. The Complete Package.

PD Workshops, The Zart Extra,Zart’s Student Gallery &

so much more!

• Discuss reasons for

conventional package design

in class and we will discuss the

design process for this

package.

• You will design a NET or 2D

DEVELOPEMENT for a cube

shaped package, with sides

measuring 7cm. Next you will

alter the design so that the

cube now has two sides that

create a house shape by the

addition of a triangle. You will

work out what to do to the

other two sides to create the

‘roof’. The package is to open

from the base.

• Tabs will be used where the

package is to glue and not

open. Flaps will be drawn

where the package is to open.

• Flaps must be drawn by

compass.

• The package NET must be

drawn instrumentally.

• Watch your placement of the

NET onto your page or you will

run out of space!

• Cutting, following teacher

approval, will happen AFTER

the pattern has been applied

to the net. The pattern may

continue/change style on the

flap(s) and 'roof'.

• The pattern(s) is selected

from your homework

exercise...EXERCISE 2.

• The pattern is to be applied

using markers /fineliner, not

pencil. It can be in black on

white only or it may include

the addition of one colour.

• Cut the net using a stencil

knife and metal ruler on a

cutting mat. You may use

scissors to cut round the flaps

if necessary.

• Folds need to be crisp

• Present in constructed format,

neatly decorated, and write

your name on the inside flap.

GOOD LUCK

DUE DATE:

SECONDARY ASSESSMENT: VISUAL COMMUNICATION & DESIGN. BOX HILL HIGH SCHOOL

EXERCISE 4: CREATIVE PACKAGE CONSTRUCTION

Brie

f

crit

eria EXERCISE 4: Criteria for grading

NAME:

FORM:

Net for cube result /30

Correct layout

Square/measurements

Flaps & tabs: correct

Technical control

Folds & cutting

Presentation

Comments

Teacher:

Suzanne BlairBox Hill High School

term2004


One of the techniques

used by Surrealist artists

in a bid to exploit the

mystique of accident

was a collective painting

or collage of images

called the cadavre exquis

(exquisite corpse). This

was based on an old

parlour game, played by

several people, each of

whom would write a

phrase on a sheet of paper,

fold the paper to conceal

part of it, and pass it on to

the next player for his

contribution.

In this instance each

artist had one half of a

canvas board to paint

half a face on. When dry

a light pencil line was

drawn on to the blank

half where the eyes,

mouth; top and bottom

of the face shape began

and ended. The painting

was covered, before

passing it on to another

artist who used the lines

as guides to complete

the painting.








terms.





art.






Please contact ZartEducation Service for

further informationregarding the gallery on

(03) 9890 1867 or byemail on:

[email protected]

Apollo Parkways Primary School

Botanical Art

Bellevue Park Primary School

Papier Mache

Beverley Hills Primary School

Bush Huts And Masks

Courtney Gardens Primary School

Masks

Camberwell Grammar Junior

School

Exquisite Corpses & Masks

Coatesville Primary School

Artworks

Cranbourne Secondary College

Jefferey Smart

Croydon North Primary School

Masks

Doncaster Gardens Primary

School

Teapots

Glenroy West Primary School

Marionettes & Uglies

Keilor Downs Pre School

Modroc Creatures

Kew Primary School

Firemen

Killester College

Relief Drawing & Printmaking

Luther College

Jewellery

Malvern Primary School

Artworks

Melbourne Boys Grammar

Masks

Penola Catholic College

Tree Trunks

Rowellyn Park Primary School

Pirates

Ruskin Park Primary School

Marine Paintings & Profiles

Seville Primary School

Impressionist PaintingsStrathcona Girls Grammar Senior

Prints

Strathcona Girls Grammar Junior

Houses & Degas

Exquisite Corpses

David WilliamsonCamberwell

Grammar


camberwell grammar junior school

cranbourne secondary college


secondary article

Imagine your Yr 10, 11 or 12students being able not only todesign and make an outfit, butalso make the pattern to fit themperfectly. I have been teachingthe "Sitam" method of patternmaking for the last three years aspart of the VET Cert III ConceptDevelopment of ClothingProducts. It still astounds me howwell this method works and howstudent friendly it is. A simplepiece of plastic with a few cutouts and lots of numbers, canproduce a block that will fit thewearer (with only limitedmodification required).

I work at Elisabeth MurdochCollege and have the pleasure ofteaching students not only frommy school, but also many otherschools on the Peninsula. Theyattend our college on Wednesdayafternoon for three hours where

the course covers design, sewing,pattern making,Occupational,Health and Safetyand teamwork, among othercompetencies.

Students find that the coursecomplements Design &Technology. By Yr 12 many can relysolely on making their ownpatterns, so much so that somestudents are finding it difficult tokeep up with the many ordersfrom friends and commercialoutlets. We also encouragestudents to do work placement togain experience in the workplace.

We start with a basic bodicepattern and adapt this intohooded jumpers, Tshirts, zippedjackets, etc. Using the trousersblock, we make hipster pants ortrackies. Things "chic" up whenwe use the fitted bodice pattern.Corset tops, jackets and

fashionable tops are created.Dresses to wear to formals andvaledictory dinners are alsoproduced, and remember allthese patterns are made from onesimple piece of plastic.

Cassie Corvino had her workshown in the "Top Designs"exhibition at the museum lastyear. As a Yr 11 student, she wasable to utilize the skills she learntin the VET class in Yr 10, creating a"Space Rave" outfit using thepattern making technique. Sheadapted the fitted bodice, skirtand pants patterns to create away-out combination ofgeometric shapes in black, whiteand hot pink.

As a result of the hard work ofa dedicated team and theimportance placed on VET(Vocational Education Training)and VCAL (Victorian Certificate of

Applied Learning) programs atElisabeth Murdoch College, theAustralian Government hasacknowledged us with fundingfor two new skills centres. Thiswill help hundreds of studentsacross the Frankston andMornington Peninsula regionacquire vocational and careereducation, as well as knowledgeand experience before they leaveschool.

Federal Education and TrainingMinister, Dr Brendan Nelson,announced the funding of morethan $61,000 for a Clothing &Design Skills Centre and a SportsRecreation Skills Centre during avisit to the College.

Felicity WignallElisabeth Murdoch College

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Coloured pencils are the most versatile,portable, clean colour drawing medium.They are able to be used for gentle gradingthrough to dense graphic rendering.

Colours are translucentso they can be mixedas you draw.

Artist Quality Pencils arelightfast & have brilliant coloursand strong soft leads.So you can draw whatever styleyou choose.

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Place your order in November or December 2004for immediate dispatch or request it to be held

until Term 1 2005. A deferred payment scheme isalso available for all back to school orders. Place

your order in December and pay in February.Enquiries please call 03 9890 1867

Zart Back to School Orders 2005Would you like tolearn or revisit thepiano?Are you stressed?Would you like to have acreative and therapeuticexperience?

Peter Carthew offers a FREEintroductory session at his Croydon

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Watercolour pencilsare made from solublewax, so you have theoption of ‘painting’too, with virtually nomess!

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How To Draw & SellDigital CartoonsLeo HartasThis book will help you discoverhow to pencil, ink and colour onthe computer. Create your ownamazing characters, fantasticworlds and gripping stories. Use 3Dprograms to boost your work andsave you time. In this book cartoonart meets the digital revolution.With the right technology and thebest techniques, anyone can startcreating great cartoons.160pp . . . . . . .$45.45 $50.00

Inspirations Art PackCurriculum CorporationVictoria A wealth of inspiration for themiddle school classroom iscontained in this innovativeselection of art images from Asia.The art works presented offer awide range of forms, styles andmaterials and represent diversesocieties that span half the globeand, in some cases, reach back overtwo millennia. On the reverse sideof each A3 card is a range of teachingideas and background notes, focusquestions, research techniquesand classroom activities.

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Senior Artwise BookTwo Visual Arts 11-12Glenis IsraelThis text features a fresh selectionof artists, with an increased focuson contemporary Australian andAsian examples, as well as someearly European artists, and modernEuropean and American artists.The book is designed to helpstudents achieve the HSC courseoutcomes and develop their aware-ness of the frames, conceptualframework and artistic practice.

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Christmas In AsiaAsia is right on our door-step! It offers us a great opportunityto learn about other peoples, their history and culturaltraditions; it offers us a taste of the exotic and brings us to agreater appreciation of human diversity. Most Australianshave traveled to Asia, have Asian friends and family or eat inour local Asian restaurants. This year Zart Education Service brings you a program entitledChristmas in Asia.We will explore the unique Christmas customs of some Asiancountries with a focus on the Philippines, China, Japan andIndia. The aim is to help children in primary schools developan appreciation of these different cultural practices and todevelop their creative expression and response to these newunderstandings of other people in other lands.

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IkuntjiPaintings from Haasts Bluff1992-1994The artists featured in this bookhave built a reputation for adistinct and refreshing style.108pp . . . . . . . .$39.95 $43.95

Desert ArtDesart The Aboriginal Art & Craftcentres of Central AustraliaThis book reveals, in the worksand pictures of the artists, theextraordinary range and beauty ofthe Aboriginal art of CentralAustralia.81pp . . . . . . . .$29.95 $32.95

Please refer to our 2005 Catalogue

for the complete rangeof our new Resources.

Out in November

Book Spotlight:

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